Sandro Botticelli

Italian, Renaissance, 1445-1510

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The Birth of Venus
Sandro Botticelli
330 USD



Virgin and Child with Young St John the Baptist
Sandro Botticelli
258 USD

The Virgin and Child
(The Madonna of the Book)

Sandro Botticelli
255 USD

Spring (Primavera)
Sandro Botticelli
445 USD
 
Mystic Nativity
Sandro Botticelli
379 USD
 
The Virgin Adoring the Sleeping Christ Child
Sandro Botticelli
290 USD
 
Lamentation over the Dead Christ
Sandro Botticelli
369 USD
 
Madonna of the Pomegranate (Madonna della Melagrana)
Sandro Botticelli
275 USD
 
Venus and Mars
Sandro Botticelli
335 USD
 
Portrait of Simonetta Vespucci
as Nymph

Sandro Botticelli
238 USD
 
The Virgin and Child
(Madonna of the Guidi da Faenza)

Sandro Botticelli
255 USD
 
The Adoration the Child
Sandro Botticelli
325 USD
 
The Virgin and Child (1488)
Sandro Botticelli
261 USD
 
Adoration of the Christ Child
Sandro Botticelli
325 USD
 
The Virgin and Child (1485)
Sandro Botticelli
254 USD
 
The Virgin and Child with a Pomegranate
Sandro Botticelli
243 USD
 
Madonna with the Child and the Youthful John the Baptist
Sandro Botticelli
245 USD
 
Virgin and Child with
the Young St. John
Sandro Botticelli
256 USD
 
Christ as the Man of Sorrows with a Halo of Angels
Sandro Botticelli
242 USD
 
Madonna and Child
Sandro Botticelli
255 USD

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Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (1445 - May 17, 1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later in his Vita of Botticellias as a "golden age". Botticelli's posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting.

Among Botticelli's best known works are The Birth of Venus and Primavera

Botticelli was born in the city of Florence in a house in the Via Nuova, Borg'Ognissanti to Mariano di Vanni d'Amedeo Filipepi. Vasari reported that he was initially trained as a goldsmith by his brother Antonio. There are very few details of Botticelli's life, but it is known that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than other Renaissance artists. Probably by 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner. As recently discovered, during this time, Botticelli could have traveled to Hungary, participating in the creation of a fresco in Esztergom, ordered in the workshop of Filippo Lippi by János Vitéz, then archbishop of Hungary.

By 1470, Botticelli had his own workshop. Even at this early date, his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms.

The Adoration of the Magi for Santa Maria Novella (c. 1475–1476, now at the Uffizi), contains the portraits of Cosimo de Medici, his sons Piero and Giovanni, and his grandsons Lorenzo and Giuliano. The quality of the scene was hailed by Vasari as one of Botticelli's pinnacles. In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist.

The masterpieces Primavera (c. 1482) and The Birth of Venus (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the Primavera was painted for Lorenzo's townhouse in Florence, and The Birth of Venus was commissioned by someone else for a different site. By 1499, both had been installed at Castello.

In these works, the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by John Ruskin as possessing linear rhythm, there can be no doubt. The pictures features Botticelli's linear style emphasized by the soft continual contours and pastel colors.

In the mid-1480s, Botticelli worked on a major fresco cycle with Perugino, Domenico Ghirlandaio and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence. 

Source: Wikipedia.