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 :. | St Augustine in his Study | incidents in the life of Saint Zenobius | Our Lady of the eight sub angel | Man as | The Birth of Venus |
Related Artists:
Christian Wilhelm Ernst Dietrich
German Painter, 1712-1774,German painter and etcher. He received his first training from his father, Johann Georg Dietrich (1684-1752), a court painter at Weimar, and was sent to Dresden at the age of 13 to study under the landscape painter Johann Alexander Thiele (1685-1752). In 1728 they travelled to Arnstadt to paint landscapes for stage sets. In 1730 Thiele presented his pupil to Frederick-Augustus I, Elector of Saxony, as a prodigy; Frederick-Augustus appointed him court painter and entrusted him to his minister Heinrich, Graf von Brehl, for whom he worked on some decorative paintings. From 1732 he used the name 'Dietricy' to sign his paintings. He travelled in Germany from 1734 and may have visited the Netherlands, the source of his artistic inspiration. He returned from his travels in 1741 and was appointed court painter to Frederick-Augustus II, Elector of Saxony, who sent him to Italy in 1743 to study. He visited Venice and Rome but returned to Dresden in 1744.
Axel Axelson
painted Fiskaregrand, Stockholm in 1854-1892
giacomo balla
Balla is often portrayed as a painter closely associated with Italian Futurism although in fact, like a number of others associated with the group, his work crossed into a number of creative disciplines including fashion and the applied arts. In 1914 he wrote the Manifesto on Menswear, later retitled Antineutral Clothing, a dramatic exhortation to dispense with the mundaneity of everyday menswear in favour of dynamic, expressive, and aggressive Futurist clothing. Like his fellow Futurists he sought to sweep away all vestiges of Italy cultural heritage in favour of an emphatically 20th-century way of life. He conceived of Futurist menswear as allowing its wearers to respond to mood changes through pneumatic devices that can be used on the spur of the moment, thus everyone can alter his dress according to the needs of his spirit. It could also be animated by electric bulbs. He had an exhibition at the Casa DArte Bragaglia in Rome in 1918, in conjunction with which he co-published his Colour Manifesto. He was also committed to Futurist applied arts and furniture, brightly painted and with richly animated surfaces, and showed them at his Futurist House in 1920, the year in which he collaborated on the journal Roma futurista. He also exhibited at the Paris Exposition des Arts D??coratifs et Industriels of 1925 and the International Exhibition at Barcelona in 1929. However he failed to get his Futurist designs put into mass production and during the 1930s gradually distanced himself from such an outlook.