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 :. | Domenico Ghirlandaio and Assistants,The Roman heroes Decius Mure,Scipio and Cicero | Birth of Venus | Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36) | Filippo Lippi.Madonna with Child and Angels or Uffizi Madonna (mk36) | St Barnabas Altarpiece |
Related Artists:
Makovsky, Konstantin
Russian, 1839-1915 He produced historical and social scenes, as well as being a portrait painter of some renown, although his significance lies more in the role he played as a founder-member of the WANDERERS art society in late 19th-century Russia. He studied first at the Moscow School of Painting and Sculpture (1851-8), which had been co-founded by his father Yegor Ivanovich Makovsky (1800-86), under Mikhail Ivanovich Skotti (1814-61) and Sergey Konstantinovich Zaryanko, then from 1858 to 1863 at the Petersburg Academy of Arts. In 1862 he was awarded a Minor Gold Medal, but the following year, together with 13 other students, Makovsky rebelled against the theme set for the Grand Gold Medal competition and left the Academy with the title of Artist of the Second Degree. In 1863 he joined the Petersburg Artel of artists, the forerunner of the Wanderers and the most potent symbol of the break with classical tradition. The reversal of official policy that this engendered led to his being made an academician in 1867, in 1869 a professor and in 1898 a full member of the Academy. As a member of the Wanderers, Makovsky was most notable for his new subject-matter, namely the common people. However, he split with the society in 1883 and by 1891 had become a member of the newly formed and more Salon-orientated St Petersburg Society of Artists, of which he was subsequently to be president. Makovsky often veered towards sentimentalism, giving his works a cloying pathos, as in his portrait of the Stasov Children (early 1870s) and Children Fleeing the Storm (1872),
Hildegard of Bingen
1098-1179,German composer, abbess and mystic. Her writings include much lyrical and dramatic poetry which has survived with monophonic music. The Symphonia armonie celestium revelationum contains musical settings of 77 poems arranged according to the liturgical calendar. The poetry is laden with imagery and the music, based on a few formulaic melodic patterns, is in some respects highly individual. Her morality play Ordo virtutum contains 82 melodies in a more syllabic style.
Phillips, Thomas
English, 1770-1845 From a respectable but impoverished family, he left school aged 13 to be apprenticed to Francis Eginton of Birmingham, a glass painter and early pioneer in reproduction by a 'photographic method'. The chiaroscuro effects of this process were a lasting influence on Phillips's style. In 1790 he moved to London to study at the Royal Academy and simultaneously assisted in Benjamin West's studio. He exhibited at the Royal Academy from 1794 to 1844 and was elected ARA in 1804, RA in 1808 and Professor of Painting in succession to Henry Fuseli from 1825 to 1832.