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 :. | Cosimo Rosselli and Assistants,Moses receiving the Tablets of the Law and Worship of the Golden Calf | La Primavera | Older Kneeling Mago | The Last Communion of St Jerome | Primavera |
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Cristofano Allori
Italian Baroque Era Painter, 1577-1621 was an Italian portrait painter of the late Florentine Mannerist school. Allori was born at Florence and received his first lessons in painting from his father, Alessandro Allori, but becoming dissatisfied with the hard anatomical drawing and cold coloring of the latter, he entered the studio of Gregorio Pagani (1558-1605) who was one of the leaders of the late Florentine school, which sought to unite the rich coloring of the Venetians with the Florentine attention to drawing. Allori also appears to have worked under Cigoli. His pictures are distinguished by their close adherence to nature and the delicacy and technical perfection of their execution. His technical skill is shown by the fact that several copies he made of Correggio's works were thought to be duplicates by Correggio himself. His extreme fastidiousness limited the number of his works. Several specimens are to be seen at Florence and elsewhere. The finest of his works is his Judith with the Head of Holofernes. It exists in two copies in the Pitti Palace in Florence and in the Queen's Gallery in London.