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 Virgin Adoring Child oil painting


The Virgin Adoring Child
c.1480-1490 Tempera on panel National Gallery of Art, Washington
Painting ID::  10008 		Sandro Botticelli
The Virgin Adoring Child
c.1480-1490 Tempera on panel National Gallery of Art, Washington
   
   
     
Sandro Botticelli Primavera oil painting


Primavera
c.1482 Tempera on panel Galleria degli Uffizi Florence, Italy
Painting ID::  10009 		Sandro Botticelli
Primavera
c.1482 Tempera on panel Galleria degli Uffizi Florence, Italy
   
   
     
Sandro Botticelli Virgin and Child Enthroned between Saint John the Baptist and Saint John the Evangelist oil painting


Virgin and Child Enthroned between Saint John the Baptist and Saint John the Evangelist
1484. Tempera on panel. Staatliche Museen Preubischer Kulturbesitz Gemaldegalerie, Berlin
Painting ID::  10010 		Sandro Botticelli
Virgin and Child Enthroned between Saint John the Baptist and Saint John the Evangelist
1484. Tempera on panel. Staatliche Museen Preubischer Kulturbesitz Gemaldegalerie, Berlin
   
   
     
Sandro Botticelli Venus and the Three Graces presenting Gifts to Young Woman oil painting


Venus and the Three Graces presenting Gifts to Young Woman
1484-1486. Fresco, transferred to canvas. Louvre
Painting ID::  10011 		Sandro Botticelli
Venus and the Three Graces presenting Gifts to Young Woman
1484-1486. Fresco, transferred to canvas. Louvre
   
   
     
Sandro Botticelli A Young Man being introduced to the Seven Liberal Arts oil painting


A Young Man being introduced to the Seven Liberal Arts
c.1484-1486. Fresco, transferred to canvas. Louvre,
Painting ID::  10012 		Sandro Botticelli
A Young Man being introduced to the Seven Liberal Arts
c.1484-1486. Fresco, transferred to canvas. 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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