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Sandro Botticelli Madonna and Child in Glory with Cherubim (mk36) oil painting


Madonna and Child in Glory with Cherubim (mk36)
Painting ID::  24965
Sandro Botticelli
Madonna and Child in Glory with Cherubim (mk36)
1469-1470 Florence,Galleria degli Uffizi

   
   
     

Sandro Botticelli filippo lippi,Adoration of the Magi (mk36) oil painting


filippo lippi,Adoration of the Magi (mk36)
Painting ID::  24966
Sandro Botticelli
filippo lippi,Adoration of the Magi (mk36)
c.1445 Washington,National Gallery of Art

   
   
     

Sandro Botticelli Madonna and Child with St John and two Saints (mk36) oil painting


Madonna and Child with St John and two Saints (mk36)
Painting ID::  24967
Sandro Botticelli
Madonna and Child with St John and two Saints (mk36)
1468-1469 Florence,Galleria dell'Accademia

   
   
     

Sandro Botticelli Modonna and Child (mk36) oil painting


Modonna and Child (mk36)
Painting ID::  24968
Sandro Botticelli
Modonna and Child (mk36)
c.1470 Florence,Galleria degli Uffizi

   
   
     

Sandro Botticelli Madonna and Child with two Angels (mk36) oil painting


Madonna and Child with two Angels (mk36)
Painting ID::  24969
Sandro Botticelli
Madonna and Child with two Angels (mk36)
1468-1469 Naples,Galleria Nazionale di Capodimonte

   
   
     

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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

     Related Artists::.
     | Leon Bonnat | Mellin, Charles | Austrian School |


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