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 :. | Primavera (mk36) | Punishment of the Rebels | And John son of Notre Dame | Piero del Pollaiolo Hope (mk36) | Christ in the Sepulchre |
Related Artists:
Antonio Viladomat y Manalt
Spanish, 1678-1755,Spanish Catalan painter. He was the most significant figure in Catalan painting from the end of the 17th century to the first half of the 18th. He trained with P. B. Savall and J. B. Perram?n in Barcelona. The arrival of the Archduke Charles (later Charles VI) of Austria in Barcelona in 1703 as a pretender to the throne during the War of the Spanish Succession (1702-13), accompanied by such Italian artists as Ferdinando Galli-Bibiena, acquainted Viladomat y Manalt with artistic trends in Italy. He experienced problems with the artists' guild in Barcelona because of his refusal to participate in the traditional work system. Despite this, his workshop-academy became a centre for the training of numerous painters, sculptors and engravers. Viladomat y Manalt was principally a religious painter, and his oil paintings include Christ Appearing to St Ignatius of Loyola (c. 1711-20; Barcelona, Jesuit Convent) and St Augustine and the Holy Family (Madrid, Prado). He also painted such murals as the tempera Angels with the Sudarium (c. 1727; Matare, S Mar?a, Capilla de los Dolores), but most of the others have disappeared. He painted an extensive series of monastic and evangelical works, in which his revival of compositions characteristic of the Spanish Golden Age is apparent. Examples include the Stigmatization of St Francis (c. 1724; Barcelona, Mus. A. Catalunya), part of a cycle of paintings on the life of St Francis commissioned for the cloister of the convent of S Francisco de As?s in Barcelona. His late Baroque style is related to the severe and realistic trend in Spanish painting in the early 17th century. Some interesting profane allegories by the artist are extant, notably the series Four Seasons (c. 1720-30; Barcelona, Mus. A. Catalunya), which consists of landscapes with genre scenes. Several of the still-lifes by Viladomat y Manalt such as the realistic Still-life with Dead Turkey (Barcelona, Mus. A. Catalunya), which has strong contrasts of light, bear an affinity with Neapolitan painting of the last decades of the 17th century.
Virgilio Mauricio
painted A hora do prazer in 1914 1892-1937
Baron Pierre Narcisse Guerin
Paris 1774-Rome 1833 French painter. He won enthusiastic recognition in 1799 for his Marius Sextus (Louvre). A defender of the classicism of J. L. David, he became director of the École de Rome in 1822. He counted among his pupils Delacroix, G??ricault, and Ary Scheffer, who were to launch the romantic school.