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   Related Paintings of Sandro Botticelli :. | Portrait of a Woman | Piero di Cosimo,Venus and Mars (mk36) | Piero del Pollaiolo Justice (mk36) | St. Augustine in the study | Judith Villa return |
Related Artists:
Domenica Battaglia
painted La Fontana delle Paperelle, Napoli, in 1842/46-1904
GUARIENTO d Arpo
Italian painter (active 1338-1368 in Padua)
SWANEVELT, Herman van
Dutch Baroque Era Painter, ca.1600-1655 Dutch painter, draughtsman and etcher, active in France and Italy. His first signed and dated works are two views of Paris dated 1623 (Brunswick, Herzog Anton Ulrich-Mus.). He was in Rome from 1629 to 1641. His earliest dated painting there is an Old Testament Scene (1630; The Hague, Mus. Bredius; see fig.), a compositional formula that he often used, with some variations, in Rome. A flat, low foreground is closed on the left by a house and a tree; on the right is a distant hilly scene; and groups of figures are disposed horizontally. This design, derived from Cornelis van Poelenburch, is well suited to van Swanevelt's many landscapes with biblical and mythological subjects. The large tree extending beyond the frame gives a monumental touch to the composition.