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 St. Dominic. oil painting


St. Dominic.
Tempera and oil on canvas, transferred from pane Hermitage, St.Petersburg,Russia
Painting ID::  10023
Sandro Botticelli
St. Dominic.
Tempera and oil on canvas, transferred from pane Hermitage, St.Petersburg,Russia
   
   
     

Sandro Botticelli A Young Woman Receives Gifts from Venus and the Three Graces (mk05) oil painting


A Young Woman Receives Gifts from Venus and the Three Graces (mk05)
Fresco 83 x 111 1/2''(211 x 283 cm)From the Villa Lemmi(Chiasso Macerelli,near Florence),which may have belonged to the Tornabuoni family acquired by the Louvre in 1882
Painting ID::  20033
Sandro Botticelli
A Young Woman Receives Gifts from Venus and the Three Graces (mk05)
Fresco 83 x 111 1/2''(211 x 283 cm)From the Villa Lemmi(Chiasso Macerelli,near Florence),which may have belonged to the Tornabuoni family acquired by the Louvre in 1882
   
   
     

Sandro Botticelli Portrait of a Man (mk05) oil painting


Portrait of a Man (mk05)
Wood 22 1/2 x 15 1/4''(57 x 39 cm)Entered the Louvre in 1882
Painting ID::  20034
Sandro Botticelli
Portrait of a Man (mk05)
Wood 22 1/2 x 15 1/4''(57 x 39 cm)Entered the Louvre in 1882
   
   
     

Sandro Botticelli The Virgin and child with John the Baptist (mk05) oil painting


The Virgin and child with John the Baptist (mk05)
Wood 36 x 26 1/2''(91 x 67 cm)Entered the Louvre in 1824
Painting ID::  20035
Sandro Botticelli
The Virgin and child with John the Baptist (mk05)
Wood 36 x 26 1/2''(91 x 67 cm)Entered the Louvre in 1824
   
   
     

Sandro Botticelli Pallas and the Centaur (mk08) oil painting


Pallas and the Centaur (mk08)
c.1482 Tempera on canvas 207x148cm Florence,Galleria degli Uffizi
Painting ID::  21199
Sandro Botticelli
Pallas and the Centaur (mk08)
c.1482 Tempera on canvas 207x148cm Florence,Galleria degli Uffizi
   
   
     

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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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