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 oil painting


Venus and Mars
c 1483 London National Gallery (mk57)
Painting ID::  26972 		Sandro Botticelli
Venus and Mars
c 1483 London National Gallery (mk57)
   
   
     
Sandro Botticelli Venus and Mars oil painting


Venus and Mars
c 1483 detail of Mars and satyr with breastplate London National Gallery. (mk57)
Painting ID::  26974 		Sandro Botticelli
Venus and Mars
c 1483 detail of Mars and satyr with breastplate London National Gallery. (mk57)
   
   
     
Sandro Botticelli Piero di Cosimo,Venus and Mars oil painting


Piero di Cosimo,Venus and Mars
1490-1500 Berlin,Staatliche Museen (mk57)
Painting ID::  26975 		Sandro Botticelli
Piero di Cosimo,Venus and Mars
1490-1500 Berlin,Staatliche Museen (mk57)
   
   
     
Sandro Botticelli Domenico Ghirlandaio,The Calling of the first Apostles,Peter and Andrew oil painting


Domenico Ghirlandaio,The Calling of the first Apostles,Peter and Andrew
1481-1482 detail of group at right with Giovanni tornabuoni(?),uncle of Lorenzo the Magnificent and father of Lorenzo,the boy in the foreground wearing a short dark tunic,vatican city sistine Chapel. (mk57)
Painting ID::  26978 		Sandro Botticelli
Domenico Ghirlandaio,The Calling of the first Apostles,Peter and Andrew
1481-1482 detail of group at right with Giovanni tornabuoni(?),uncle of Lorenzo the Magnificent and father of Lorenzo,the boy in the foreground wearing a short dark tunic,vatican city sistine Chapel. (mk57)
   
   
     
Sandro Botticelli Lorenzo Tornabuoni oil painting


Lorenzo Tornabuoni
before the assembly of the Liberal Arts (c 1486) detached fresco from villa Lemmi at Legnaia,Paris,Musee du Louvre (mk57)
Painting ID::  26979 		Sandro Botticelli
Lorenzo Tornabuoni
before the assembly of the Liberal Arts (c 1486) detached fresco from villa Lemmi at Legnaia,Paris,Musee du Louvre (mk57)
   
   
     
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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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