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

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Sandro Botticelli
Crucifixion with the Penitent Magdalene and an Angel

ID: 27049

Sandro Botticelli Crucifixion with the Penitent Magdalene and an Angel
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Sandro Botticelli Crucifixion with the Penitent Magdalene and an Angel


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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 :. | Adoration of the Magi | Domenico Ghirlandaio,St Jerome in his Study (m,k36) | Discovery of the Body of Holofernes (mk36) | The Adoration of the Magi | The Birth of Venus |
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Anna Boch
(10 February 1848 - 25 February 1936) was a Belgian painter, born in Saint-Vaast, Hainaut. Anna Boch died in Ixelles in 1936 and is interred there in the Ixelles Cemetery, Brussels, Belgium. Boch participated in the Neo-Impressionist movement. Her early works used a Pointillist technique, but she is best known for her Impressionist style which she adopted for most of her career. A pupil of Isidore Verheyden, she was influenced by Theo van Rysselberghe whom she met in the Groupe des XX.
James Baynes
James Baynes (5 April 1766 ?C 12 May 1837) was an English watercolour painter and drawing-master. Little is known of his family apart from the fact that he was born in Lancaster as the song of a local tradesman and was the eldest of six children, his grandfather being a Catholic priest in Kirkby Lonsdale where his father was born. As a boy he showed a love of the arts and had been employed to draw heads and work devices until Dr. Campbell, a local Physician, having seen some of these works sent some sketches to his friend George Romney. The young Baynes was then sent to London to study under Romney at the expense of Dr. Campbell. In 1784, at the age of 18 he became a student at the Royal Academy. He wedded Mary Mann (1766-1845) in 1785 at Marylebone Church, London. Their son, Thomas Mann Baynes (1794-1854), was also became a noted watercolour artist.
Thomas Gainsborough
1727-1788 British Thomas Gainsborough Locations English painter, draughtsman and printmaker. He was the contemporary and rival of Joshua Reynolds, who honoured him on 10 December 1788 with a valedictory Discourse (pubd London, 1789), in which he stated: If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name. He went on to consider Gainsborough portraits, landscapes and fancy pictures within the Old Master tradition, against which, in his view, modern painting had always to match itself. Reynolds was acknowledging a general opinion that Gainsborough was one of the most significant painters of their generation. Less ambitious than Reynolds in his portraits, he nevertheless painted with elegance and virtuosity. He founded his landscape manner largely on the study of northern European artists and developed a very beautiful and often poignant imagery of the British countryside. By the mid-1760s he was making formal allusions to a wide range of previous art, from Rubens and Watteau to, eventually, Claude and Titian. He was as various in his drawings and was among the first to take up the new printmaking techniques of aquatint and soft-ground etching. Because his friend, the musician and painter William Jackson (1730-1803), claimed that Gainsborough detested reading, there has been a tendency to deny him any literacy. He was, nevertheless, as his surviving letters show, verbally adept, extremely witty and highly cultured. He loved music and performed well. He was a person of rapidly changing moods, humorous, brilliant and witty. At the time of his death he was expanding the range of his art, having lived through one of the more complex and creative phases in the history of British painting. He painted with unmatched skill and bravura; while giving the impression of a kind of holy innocence, he was among the most artistically learned and sophisticated painters of his generation. It has been usual to consider his career in terms of the rivalry with Reynolds that was acknowledged by their contemporaries; while Reynolds maintained an intellectual and academic ideal of art, Gainsborough grounded his imagery on contemporary life, maintaining an aesthetic outlook previously given its most powerful expression by William Hogarth. His portraits, landscapes and subject pictures are only now coming to be studied in all their complexity; having previously been viewed as being isolated from the social, philosophical and ideological currents of their time, they have yet to be fully related to them. It is clear, however, that his landscapes and rural pieces, and some of his portraits, were as significant as Reynolds acknowledged them to be in 1788.






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