Sandro Botticelli
Sandro Botticelli's Oil Paintings
Sandro Botticelli Museum
c. 1445 – May 17, 1510. Italian painter.

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Sandro Botticelli
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ID: 25131

Sandro Botticelli Calumny (mk36)
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Sandro Botticelli Calumny (mk36)


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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   Related Paintings of Sandro Botticelli :. | Panel II of The Story of Nastagio degli Onesti | Mago wearing a red mantle | Trinity with Mary Magdalene,St john the Baptist,Tobias and the Angel | Stories of Virginia | Our Lady of the eight sub-angel |
Related Artists:
Otto Marseus van Schrieck
(ca. 1619, Nijmegen - buried June 22, 1678, Amsterdam) was a painter in the Dutch Golden Age. Marseus van Schrieck spent the years 1648-1657 in Rome and Florence with the painters Matthias Withoos and Willem van Aelst, after which he settled in Amsterdam. He is best known for his paintings of forest flora and fauna. In Arnold Houbraken's biography of him, he mentions that he joined the Bentvueghels in Rome and was called the snuffelaer, or "sniffer", because he was always sniffing strange lizards and snakes. He quotes his wife, who apparently survived him by two husbands and was still alive when he wrote the book. He wrote that she said that Otto kept snakes and lizards in a shed at the back of his house, and also on a piece of land outside the city that was walled in for this purpose.
Willem Maris
Dutch Painter, 1844-1910 Brother of Jacob Maris. He received his training as a painter from his brothers, Jacob Maris and Matthijs Maris. Although he briefly attended evening classes at the Academie in The Hague and was advised by the animal painter Pieter Stortenbeker (1828-98), he was basically self-taught; he was the only self-made man in the circle of Hague school artists. In 1862 he visited Oosterbeek where he met Anton Mauve, with whom he established a long friendship. In the same year he first entered a painting, Cows on the Heath (untraced), in the Tentoonstellung van Levende Meesters in Rotterdam. The themes of cows at pasture and ducks by the side of a ditch, which characterized the Dutch polder landscape in summer, became his hallmark. In the following year he exhibited Cows by a Pool (The Hague, Gemeentemus) in The Hague; it received discouraging reviews, as did the picture entered by his brother Matthijs. Painted in 1863, this work already employs Willem main motif and shows his attention to the handling of light (with effects of haze and backlighting).
Eugene Boudin
1824-1898 French landscape painter. Encouraged at an early age by Jean-Francois Millet, Boudin became a strong advocate of painting directly from nature. In 1874 he exhibited with the Impressionists, but, unlike those painters, he was not an innovator, and from 1863 to 1897 he exhibited regularly in the official Salon. His favourite subjects were beach scenes and seascapes, which show remarkable sensitivity to effects of atmosphere; on the backs of his paintings he recorded the weather, light, and time of day. His works link the careful naturalism of the mid 19th century and the brilliant colours and fluid brushwork of Impressionism.






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