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Domenico Ghirlandaio,Portrait of Giovanna Tornabuoni (mk36)
new8/Sandro Botticelli-872472.jpg
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Domenico_Ghirlandaio,Portrait_of_Giovanna_Tornabuoni_(mk36)
1488
etail.
Madrid,
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Domenico Ghirlandaio,Stories of St John the Baptist,The Visitation (mk36)
new8/Sandro Botticelli-285587.jpg
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Domenico_Ghirlandaio,Stories_of_St_John_the_Baptist,The_Visitation_(mk36)
c.1490
details of the fresco with Lucrezia Tornabuoni,mother of Lorenzo,and Giovanna degli Albizi,possibly represented twice as indicated by the jewel.Florence,Santa Maria Novella,Cappella Tornabuoni
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Venus and the Graces offering gifts to a young woman (mk36)
new8/Sandro Botticelli-599668.jpg
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Venus_and_the_Graces_offering_gifts_to_a_young_woman_(mk36)
c.1486
detached fresco from Villa Lemmi at Legnaia.Paris,Musee du Louvre
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Bardi Altarpiece (mk36)
new8/Sandro Botticelli-254222.jpg
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Bardi_Altarpiece_(mk36)
1485
detail of St john the Baptist and of Vase filled with lilies and olive branches,Berlin,Staatliche Museen,Gemaldegalerie
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Bardi Altarpiece (mk36)
new8/Sandro Botticelli-897965.jpg
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Bardi_Altarpiece_(mk36)
1485
Berlin,Staatliche Museen,Gemaldegalerie
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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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