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 Coronation of the Virgin,with Sts john the Evangelist,Augustine,jerome and Eligius or San Marco Altarpiece (mk36) oil painting


Coronation of the Virgin,with Sts john the Evangelist,Augustine,jerome and Eligius or San Marco Altarpiece (mk36)
1488-1490 Florence,Galleria degli Uffizi
Painting ID::  25115
Sandro Botticelli
Coronation of the Virgin,with Sts john the Evangelist,Augustine,jerome and Eligius or San Marco Altarpiece (mk36)
1488-1490 Florence,Galleria degli Uffizi
   
   
     

Sandro Botticelli Trinity with Mary Magdalene,St john the Baptist,Tobias  and the Angel (mk36) oil painting


Trinity with Mary Magdalene,St john the Baptist,Tobias and the Angel (mk36)
1490-1495 detail with Tobias and the angel London,Courtauld Institute.
Painting ID::  25116
Sandro Botticelli
Trinity with Mary Magdalene,St john the Baptist,Tobias and the Angel (mk36)
1490-1495 detail with Tobias and the angel London,Courtauld Institute.
   
   
     

Sandro Botticelli Fra Bartolomeo,Portrait of Girolame Savonarola (mk36) oil painting


Fra Bartolomeo,Portrait of Girolame Savonarola (mk36)
1498-1499 Florence,Musee di San Marco
Painting ID::  25117
Sandro Botticelli
Fra Bartolomeo,Portrait of Girolame Savonarola (mk36)
1498-1499 Florence,Musee di San Marco
   
   
     

Sandro Botticelli Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36) oil painting


Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36)
1490-1495 London,Coutauld Institute.
Painting ID::  25118
Sandro Botticelli
Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36)
1490-1495 London,Coutauld Institute.
   
   
     

Sandro Botticelli Lament fro Christ Dead,with st jerome,St Paul and St Peter (mk36) oil painting


Lament fro Christ Dead,with st jerome,St Paul and St Peter (mk36)
c.1495 Munich,Alte Pinakothek.
Painting ID::  25119
Sandro Botticelli
Lament fro Christ Dead,with st jerome,St Paul and St Peter (mk36)
c.1495 Munich,Alte Pinakothek.
   
   
     

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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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