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 The violent opposing Divine odrder in the fiery sands (mk36) oil painting


The violent opposing Divine odrder in the fiery sands (mk36)
Punishment of the sodomites,Conversation with Brunetto Latini Vatican City,Biblioteca Apostolica Vaticana,Reginense lat 1896,cm99r.
Painting ID::  25011
Sandro Botticelli
The violent opposing Divine odrder in the fiery sands (mk36)
Punishment of the sodomites,Conversation with Brunetto Latini Vatican City,Biblioteca Apostolica Vaticana,Reginense lat 1896,cm99r.
   
   
     

Sandro Botticelli Fra Angelico,Ordination of St Lawrence (mk36) oil painting


Fra Angelico,Ordination of St Lawrence (mk36)
Vatican City,Palazzi vaticani Cappella Niccolina
Painting ID::  25012
Sandro Botticelli
Fra Angelico,Ordination of St Lawrence (mk36)
Vatican City,Palazzi vaticani Cappella Niccolina
   
   
     

Sandro Botticelli Pietro Perugino,Consigning the Keys (mk36) oil painting


Pietro Perugino,Consigning the Keys (mk36)
1482 Vatican City, Sistine Chapel.
Painting ID::  25013
Sandro Botticelli
Pietro Perugino,Consigning the Keys (mk36)
1482 Vatican City, Sistine Chapel.
   
   
     

Sandro Botticelli Cosimo Rosselli and Assistants,Moses receiving the Tablets of the Law and Worship of the Golden Calf (mk36) oil painting


Cosimo Rosselli and Assistants,Moses receiving the Tablets of the Law and Worship of the Golden Calf (mk36)
1481 Vatican City,Sistine Chapel
Painting ID::  25014
Sandro Botticelli
Cosimo Rosselli and Assistants,Moses receiving the Tablets of the Law and Worship of the Golden Calf (mk36)
1481 Vatican City,Sistine Chapel
   
   
     

Sandro Botticelli Trials of Moses (mk36) oil painting


Trials of Moses (mk36)
1481-1482 Vatican City,Sistine Chapel
Painting ID::  25015
Sandro Botticelli
Trials of Moses (mk36)
1481-1482 Vatican City,Sistine Chapel
   
   
     

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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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