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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Sandro Botticelli Domenico Ghirlandaio,Portrait of Giovanna Tornabuoni (mk36) oil painting


Domenico Ghirlandaio,Portrait of Giovanna Tornabuoni (mk36)
1488 etail. Madrid,
Painting ID::  25076
Sandro Botticelli
Domenico Ghirlandaio,Portrait of Giovanna Tornabuoni (mk36)
1488 etail. Madrid,
   
   
     

Sandro Botticelli Domenico Ghirlandaio,Stories of St John the Baptist,The Visitation (mk36) oil painting


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
Painting ID::  25077
Sandro Botticelli
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
   
   
     

Sandro Botticelli Venus and the Graces offering gifts to a young woman (mk36) oil painting


Venus and the Graces offering gifts to a young woman (mk36)
c.1486 detached fresco from Villa Lemmi at Legnaia.Paris,Musee du Louvre
Painting ID::  25078
Sandro Botticelli
Venus and the Graces offering gifts to a young woman (mk36)
c.1486 detached fresco from Villa Lemmi at Legnaia.Paris,Musee du Louvre
   
   
     

Sandro Botticelli Bardi Altarpiece (mk36) oil painting


Bardi Altarpiece (mk36)
1485 detail of St john the Baptist and of Vase filled with lilies and olive branches,Berlin,Staatliche Museen,Gemaldegalerie
Painting ID::  25080
Sandro Botticelli
Bardi Altarpiece (mk36)
1485 detail of St john the Baptist and of Vase filled with lilies and olive branches,Berlin,Staatliche Museen,Gemaldegalerie
   
   
     

Sandro Botticelli Bardi Altarpiece (mk36) oil painting


Bardi Altarpiece (mk36)
1485 Berlin,Staatliche Museen,Gemaldegalerie
Painting ID::  25082
Sandro Botticelli
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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