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 Venus and Mars (mk36) oil painting


Venus and Mars (mk36)
c.1483 London,National Gallery
Painting ID::  25067
Sandro Botticelli
Venus and Mars (mk36)
c.1483 London,National Gallery
   
   
     

Sandro Botticelli Piero di Cosimo,Venus and Mars (mk36) oil painting


Piero di Cosimo,Venus and Mars (mk36)
1490-1500 Berlin,Staatliche Museen.
Painting ID::  25068
Sandro Botticelli
Piero di Cosimo,Venus and Mars (mk36)
1490-1500 Berlin,Staatliche Museen.
   
   
     

Sandro Botticelli Lorenzo Tornabuoni before the assembly of the Liberal Arts (mk36) oil painting


Lorenzo Tornabuoni before the assembly of the Liberal Arts (mk36)
c.1486 detached fresco from Villa Lemmi at Legnaia'detail of Lorenzo and Grammar.Paris,Musee du Louvre
Painting ID::  25070
Sandro Botticelli
Lorenzo Tornabuoni before the assembly of the Liberal Arts (mk36)
c.1486 detached fresco from Villa Lemmi at Legnaia'detail of Lorenzo and Grammar.Paris,Musee du Louvre
   
   
     

Sandro Botticelli Domenico Ghirlandaio,The Calling of the first Apostles,peter and Andrew (mk36) oil painting


Domenico Ghirlandaio,The Calling of the first Apostles,peter and Andrew (mk36)
1481-1482 detail of group at right with Giovanni Tornabuoni
Painting ID::  25072
Sandro Botticelli
Domenico Ghirlandaio,The Calling of the first Apostles,peter and Andrew (mk36)
1481-1482 detail of group at right with Giovanni Tornabuoni
   
   
     

Sandro Botticelli Lorenzo Tornabuoni before the assembly of the Liberal Arts (mk36) oil painting


Lorenzo Tornabuoni before the assembly of the Liberal Arts (mk36)
c.1486 detached fresco from Villa Lemmi at Legnaia,Paris,Musee du Louvre
Painting ID::  25073
Sandro Botticelli
Lorenzo Tornabuoni before the assembly of the Liberal Arts (mk36)
c.1486 detached fresco from Villa Lemmi at Legnaia,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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