All Sandro Botticelli Oil Paintings

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
 

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Sandro Botticelli Francesco Furini,Lorenzo the Magnificent and the Platonic Academy in the Villa of Careggi (mk36) oil on canvas


Francesco Furini,Lorenzo the Magnificent and the Platonic Academy in the Villa of Careggi (mk36)
Francesco Furini,Lorenzo the Magnificent and the Platonic Academy in the Villa of Careggi (mk36)
Painting ID::  25037
  c.1635 Florence,Palazzo pitti, Sala di Giovanni da San Giovanni
  c.1635 Florence,Palazzo pitti, Sala di Giovanni da San Giovanni

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Sandro Botticelli Domenico Ghirlandaio,Stories of john the (mk36) oil on canvas


Domenico Ghirlandaio,Stories of john the (mk36)
Domenico Ghirlandaio,Stories of john the (mk36)
Painting ID::  25038
  1486 Detail of portraits of Marsilio Ficino,Cristoforo Landino.Agnolo Poliziano and Gentile Becci.Forence,Santa Maria Novella,Cappella Tornabuoni.
  1486 Detail of portraits of Marsilio Ficino,Cristoforo Landino.Agnolo Poliziano and Gentile Becci.Forence,Santa Maria Novella,Cappella Tornabuoni.

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Sandro Botticelli Cristofano dell'Altissimo,Portrait of Marsililo Ficino (mk36) oil on canvas


Cristofano dell'Altissimo,Portrait of Marsililo Ficino (mk36)
Cristofano dell'Altissimo,Portrait of Marsililo Ficino (mk36)
Painting ID::  25039
  after 1552 Florence,Galleria degli Uffizi
  after 1552 Florence,Galleria degli Uffizi

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Sandro Botticelli Primavera (mk36) oil on canvas


Primavera (mk36)
Primavera (mk36)
Painting ID::  25041
  Details of Zephyrus as he pusues and catches the fleeing nymph Cloris,to make her his bride.
  Details of Zephyrus as he pusues and catches the fleeing nymph Cloris,to make her his bride.

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Sandro Botticelli primavera (mk36) oil on canvas


primavera (mk36)
primavera (mk36)
Painting ID::  25044
  Detail of Cupid with eyes bandaged,shooting an arrow at Chastity,one of the Three Graces,Florence ,Galleria degli Uffizi
  Detail of Cupid with eyes bandaged,shooting an arrow at Chastity,one of the Three Graces,Florence ,Galleria degli Uffizi

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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

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