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St Augustine in his Study (mk36)
new8/Sandro Botticelli-473738.jpg
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St_Augustine_in_his_Study_(mk36)
c.1480
Detached fresco,Florence,Ognissanti
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Domenico Ghirlandaio,St Jerome in his Study (m,k36)
new8/Sandro Botticelli-882432.jpg
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Domenico_Ghirlandaio,St_Jerome_in_his_Study_(m,k36)
c.1480
Detached fresco,Florence,Ognissanti
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Details of St Augustine in his Study (mk36)
new8/Sandro Botticelli-532932.jpg
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Details_of__St_Augustine_in_his_Study_(mk36)
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St Augustine in his Study (mk36)
new8/Sandro Botticelli-398447.jpg
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St_Augustine_in_his_Study_(mk36)
c.1480
Detail of the Vespucci coat-of-arms
Florence,Ognissanti
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St Augustione in his Study (mk36)
new8/Sandro Botticelli-556667.jpg
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St_Augustione_in_his_Study_(mk36)
c.1480
Details of lectern with open book.
Florence,Ognissanti
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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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