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Oil Paintings
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BOTTICELLI, Sandro
Italian Early Renaissance Painter, 1445-1510
Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli or Il Botticello ("The Little Barrel"; March 1, 1445 ?C May 17, 1510) was an Italian painter of the Florentine school during the Early Renaissance (Quattrocento). Less than a hundred years later, this movement, under the patronage of Lorenzo de' Medici, was characterized by Giorgio Vasari as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. His posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting, and The Birth of Venus and Primavera rank now among the most familiar masterpieces of Florentine art.
Details of Botticelli's life are sparse, but we know that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than did other Renaissance artists. Vasari reported that he was initially trained as a goldsmith by his brother Antonio. 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 Fra Filippo Lippi by Vitez J??nos, 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. |
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BOTTICELLI, Sandro
Calumny g
1495
Tempera on wood, 62 x 91 cm
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
Calumny, detail of Truth and Remorse f
1495
Tempera on wood, 62 x 91 cm (full picture)
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
Fortitude gf
1470
Tempera on wood, 167 x 87 cm
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
Allegoric Painting (from Villa Lemmi) d
c. 1497
Fresco, 212 x 284 cm
Mus??e du Louvre, Paris
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BOTTICELLI, Sandro
Allegoric Painting (from Villa Lemmi) hgjgh
c. 1497
Fresco, 212 x 284 cm
Mus??e du Louvre, Paris
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BOTTICELLI, Sandro
Venus and Mars fg
1480s
Tempera on wood, 69 x 173,5 cm
National Gallery, London
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BOTTICELLI, Sandro
Pallas and the Centaur f
1482
Tempera on canvas, 207 x 148 cm
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
La Primavera, Allegory of Spring
1477-78
Panel, 315 x 205 cm
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
La Primavera, Allegory of Spring (detail)
1477-78
Tempera on panel
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
The Birth of Venus fg
c. 1485
Tempera on canvas, 172.5 x 278.5 cm
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
The Birth of Venus (detail) ff
c. 1485
Tempera on canvas, 172.5 x 278.5 cm (full painting)
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
The Birth of Venus (detail) dsfds
c. 1485
Tempera on canvas, 172.5 x 278.5 cm (full painting)
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
Madonna with the Child (Madonna with the Book) vg
1483
Panel, 58 x 40 cm
Museo Poldi Pezzoli, Milan
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BOTTICELLI, Sandro
Madonna and Child with an Angel (detail) fghfgh
c. 1470
Tempera on wood
Isabella Stewart Gardner Museum, Boston
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BOTTICELLI, Sandro
Madonna of the Magnificat fg
c.1485
Tempera on panel, diameter 118 cm
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
Madonna of the Pomegranate (Madonna and Child and six Angels) fdgd
c. 1487
Panel
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
Madonna of the Rosengarden fhg
1469-70
Tempera on wood, 124 x 64 cm
Galleria degli Uffizi, Florence
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BOTTICELLI, Sandro
The Story of Nastagio degli Onesti (first episode) ghj
1483
Tempera on panel, 83 x 138 cm
Museo del Prado, Madrid
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BOTTICELLI, Sandro
The Story of Nastagio degli Onesti (detail of the first episode) gfh
1483
Tempera on panel
Museo del Prado, Madrid
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BOTTICELLI, Sandro
The Story of Nastagio degli Onesti (second episode) gfhgf
1483
Tempera on panel, 82 x 138 cm
Museo del Prado, Madrid
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| BOTTICELLI, Sandro
|
Italian Early Renaissance Painter, 1445-1510
Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli or Il Botticello ("The Little Barrel"; March 1, 1445 ?C May 17, 1510) was an Italian painter of the Florentine school during the Early Renaissance (Quattrocento). Less than a hundred years later, this movement, under the patronage of Lorenzo de' Medici, was characterized by Giorgio Vasari as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. His posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting, and The Birth of Venus and Primavera rank now among the most familiar masterpieces of Florentine art.
Details of Botticelli's life are sparse, but we know that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than did other Renaissance artists. Vasari reported that he was initially trained as a goldsmith by his brother Antonio. 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 Fra Filippo Lippi by Vitez J??nos, 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.
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