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Spring (nn03)
new8/Sandro Botticelli-526758.jpg
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Spring_(nn03)
c 1470/80 Tempera on panel 175.5 x 278.5 cm 69 1/4 x 109 1/2 in
Galleria degli Uffizi Florence
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Lorenzo Ghiberti,Sacrifice of Isaac (mk36)
new8/Sandro Botticelli-576669.jpg
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Lorenzo_Ghiberti,Sacrifice_of_Isaac_(mk36)
1402
fomella for the Competition for the Northern Door the Florentine Baptisery.Florentine Museo Nazionale del Bargello
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Filippo Lippi.Madonna with Child and Angels or Uffizi Madonna (mk36)
new8/Sandro Botticelli-239249.jpg
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Filippo_Lippi.Madonna_with_Child_and_Angels_or_Uffizi_Madonna_(mk36)
1464-1465
Florence,Galleria degli Uffizi
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modonna with Child and an Angel (mk36)
new8/Sandro Botticelli-254739.jpg
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modonna_with_Child_and_an_Angel_(mk36)
c.1465
Florence,Museo dello Speeale degli lnnocenti
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Madonna of the Rose Garden or Madonna and Child with St john the Baptist (mk36)
new8/Sandro Botticelli-287494.jpg
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Madonna_of_the_Rose_Garden_or_Madonna_and_Child_with_St_john_the_Baptist_(mk36)
c.1468
details..paris.Musee du Louvre
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Sandro_Botticelli
Italian Early Renaissance Painter, 1445-1510
Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s
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