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 :. | Madonna of the Rose Garden or Madonna and Child with St john the Baptist (mk36) | La Primavera (mk08) | Sebastian | Pallas and the Centaur | Benozzo Gozzoli,Cavalcade of the Magi |
Related Artists:
Callisto Piazza
(1500-1561) was an Italian painter. Callisto, a member of the Piazza family of painters, was born in Lodi, Lombardy. In 1523 he was working in Brescia. His first dated and signed work is from the following year, and shows a typical Brescian style. This style was then emerging, and included artists such as Romanino and Moretto. Piazza shows influences from contemporaries such as Dosso Dossi and Ludovico Mazzolino of the Ferrarese school, as well as Giovanni Agostino da Lodi. In 1526-1529 Piazza worked in Val Camonica, at Erbanno, Borno, Breno, Esine and Cividate Camuno. In 1529 he returned to his native Lodi where he formed a workshop with his brothers Cesare and Scipione (died 1552). In 1538, while in Crema, he married the noblewoman Francesca Confalonieri. Later Callisto moved to Milan, where he received numerous commissions, such as the decoration of the San Girolamo chapel in Santa Maria Presso San Celso (1542); the decoration of the refectory of the convent of Sant'Ambrogio (1545); the frescoes for the Saletta Negra in the Castello Sforzesco; and the decoration of the Simonetta chapel in San Maurizio al Monastero Maggiore (1555), largely executed with the assistance of his son Fulvio. He also worked in Lodi at the Incoronata (1454), Novara, at the Abbey of Chiaravalle and other areas of Lombardy.
Bartolomeo Montagna
Orzinuovi ca 1450-Vicenza 1523 .Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works,
Carl Wagner
1796-1867