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 Mystic Nativity oil painting


Mystic Nativity
1501 detail of angels with Crowns and Scrolls(above) and wise men (below) London,National Gallery (mk57)
Painting ID::  27051 		Sandro Botticelli
Mystic Nativity
1501 detail of angels with Crowns and Scrolls(above) and wise men (below) London,National Gallery (mk57)
   
   
     
Sandro Botticelli Stories of St Zanobius Last Miracle:dead child revived by the Deacons Eugenius and Crescentius oil painting


Stories of St Zanobius Last Miracle:dead child revived by the Deacons Eugenius and Crescentius
1495-1500 detail with grotesque motifs.Dresden,Staatliche Kunstsammlungen Gemaldegalerie Alte Meister. (mk57)
Painting ID::  27052 		Sandro Botticelli
Stories of St Zanobius Last Miracle:dead child revived by the Deacons Eugenius and Crescentius
1495-1500 detail with grotesque motifs.Dresden,Staatliche Kunstsammlungen Gemaldegalerie Alte Meister. (mk57)
   
   
     
Sandro Botticelli Baptism,renunciation of Marriage,appointment as bishop oil painting


Baptism,renunciation of Marriage,appointment as bishop

Painting ID::  27053 		Sandro Botticelli
Baptism,renunciation of Marriage,appointment as bishop
   
   
     
Sandro Botticelli Three Miracles of St Zanobius:driving the demon out of two youths,reviving a dead child,restoring sight to a blind man oil painting


Three Miracles of St Zanobius:driving the demon out of two youths,reviving a dead child,restoring sight to a blind man
c 1495-1500 London,National Gallery (mk57)
Painting ID::  27055 		Sandro Botticelli
Three Miracles of St Zanobius:driving the demon out of two youths,reviving a dead child,restoring sight to a blind man
c 1495-1500 London,National Gallery (mk57)
   
   
     
Sandro Botticelli Three miracles of St Zanobius,reviving the dead oil painting


Three miracles of St Zanobius,reviving the dead
1495-1500 New York,Metropolitan Museum of Art. (mk57)
Painting ID::  27056 		Sandro Botticelli
Three miracles of St Zanobius,reviving the dead
1495-1500 New York,Metropolitan Museum of Art. (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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