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 :. | Lament for Christ Dead,with St Jerome,St Paul and St Peter | Punishment of the Rebels (mk36) | Portrait of Michele Marullo | Lament fro Christ Dead (mk36) | Our Lady of subgraph |
Related Artists:
William Shayer
1787-1879 English painter. Although based in Southampton and catering predominantly to a provincial market, he also exhibited in London. Between 1825 and 1870 he showed over 330 works at the Royal Society of British Artists and 80 at the British Institution. Shayer produced rural genre scenes in the manner of Francis Wheatley, Julius Caesar Ibbetson and, predominantly,
Karl Hagemeister
German, 1848-1933,German painter. He studied from 1871 at the Kunstschule in Weimar under Friedrich Preller, who introduced him to the principles of classical landscape painting. In 1873 he began to develop a more modern approach when he met Carl Schuch at the Hintersee, near Berchtesgaden; he immediately became his pupil and later wrote Schuch's biography. Schuch introduced Hagemeister to the Leibl circle (see LEIBL, WILHELM). He travelled to the Netherlands and Belgium (1873-4), Italy (1876) and France (1884-5), often accompanying Schuch and, in the early journeys, Wilhelm Trebner. His approach to landscape changed from classical Naturalism to 'pure painting', a more formalist approach in which purely pictorial qualities were given priority over naturalistic representation, as in Lake Shore (c. 1900; Schweinfurt, Samml. Schefer). His brushwork became broader, his depiction of objects became increasingly summary, and his colours lighter and cooler. Absorbing the influence of Japanese art through the interpretations of the French Impressionists, and following trends in international Art Nouveau, Hagemeister developed an individual variant of Jugendstil. His pictures were composed in accordance with decorative rather than naturalistic principles and became primarily ornamental, as in White Poppy
Emile Schuffenecker
French Post-Impressionist Painter, 1851-1934 French painter. In 1871 he entered the stockbroking firm of Bertin, where he met Paul Gauguin who was also employed there. In his spare time he took drawing classes and studied with Paul Baudry and Carolus-Duran, making his debut at the Salon in 1874. He also became acquainted with Armand Guillaumin and Camille Pissarro. Following the stock market crash of 1882, he, like Gauguin, was forced to leave Bertin and gained a job teaching art at the Lycee Michelet in Vanves. In 1884 he was one of the co-founders of the Salon des Independants and took part in the 8th and last Impressionist Exhibition in 1886, the year in which he also met Emile Bernard in Concarneau and sent him on to see Gauguin, thus initiating their joint development of CLOISONNISM. Though he mixed with the members of the Pont-Aven group his own artistic tastes were very different. While Gauguin and his disciples had little more than contempt for Neo-Impressionism, Schuffenecker was much interested in pointillist techniques.