Alessandro di Mariano Filipepi, better known as Sandro Botticelli ("little barrel") (March 1, 1445 – May 17, 1510) was an Italianpainter of the Florentine school during the Early Renaissance (Quattrocento). Less than a hundred years later, this movement, under the patronage of Lorenzo de' Medici, was characterized by Giorgio Vasari as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. His posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting, and The Birth of Venus and Primavera rank now among the most familiar masterpieces of Florentine art.
Contents
1Biography
1.1Youth
1.2Masterworks
1.3Maturity and later life
1.4Religion
2References in popular culture
3Anthology of works
4References
5See also
Biography
Youth
Details of Botticelli's life are sparse, but we know that he did not become an apprentice until he was about fourteen years old, which would indicate that he received a fuller education than did other Renaissance artists. Vasari reported that he was initially trained as a goldsmith by his brother Antonio. He then was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner.
By 1470 Botticelli had his own workshop. Even at this early date his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms.
Masterworks
The masterworks Primavera (c. 1478) and The Birth of Venus (c. 1485) were both painted for the villa of Lorenzo di Pierfrancesco de' Medici at Castello. In these works the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace", and by John Ruskin as possessing linear rhythm, there can be no doubt.
Primavera (1478): icon of the springtime renewal of the Florentine Renaissance, also at the summer palazzo of Pierfrancesco de' Medici, as a companion piece to the Birth of Venus and Pallas and the Centaur. Left to right: Mercury, the Three Graces, Venus, Flora, Chloris, Zephyrus.
Maturity and later life
The Adoration of the Magi for Santa Maria Novella, c. 1476, contains portraits of Cosimo de' Medici ("the finest of all that are now extant for its life and vigour"), his grandson Giuliano de' Medici, and Cosimo's son Giovanni, were effusively described by Vasari:
"The beauty of the heads in this scene is indescribable, their attitudes all different, some full-face, some in profile, some three-quarters, some bent down, and in various other ways, while the expressions of the attendants, both young and old, are greatly varied, displaying the artist's perfect mastery of his profession. Sandro further clearly shows the distinction between the suites of each of the kings. It is a marvellous work in colour, design and composition."
In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution was moderately successful.
He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstension from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist.
In 1491 Botticelli served on a committee to decide upon a facade for the Florence Duomo. In 1502 he was accused of sodomy, charges which were later dropped. In 1504 he was a member of the committee appointed to decide where Michelangelo's David would be placed. His later work, especially as seen in a series on the life of St. Zenobius, witnessed a diminution of scale, expressively distorted figures, and a non-naturalistic use of color reminiscent of the work of Fra Angelico nearly a century earlier.
In later life, Botticelli was one of Savonarola's followers, and burnt his own paintings on pagan themes in the notorious "Bonfire of the Vanities". Botticelli biographer Ernst Steinman searched for the artist's psychological development through his Madonnas. In the deepening of insight and expression in the rendering of Mary's physiognomy, Steinman discerns proof of Savonarola's influence over Botticelli. This means that the biographer needed to alter the dates of a number of Madonnas to substantiate his theory; specifically, they are dated ten years later than before. Steinman disagrees with Vasari's assertion that Botticelli produced nothing after coming under the influence of Girolamo Savonarola. Steinman believes the spiritual and emotional Virgins rendered by Sandro follow directly from the teachings of the Dominican monk.
Earlier, Botticelli had painted an Assumption of the Virgin for Matteo Palmieri in a chapel at San Pietro Maggiore in which, it was rumored, both the patron who dictated the iconic scheme and the painter who painted it, were guilty of unidentified heresy, a delicate requirement in such a subject. The heretical notions seem to be gnostic in character:
“
By the side door of San Piero Maggiore he did a panel for Matteo Palmieri, with a large number of figures representing the Assumption of Our Lady with zones of patriarchs, prophets, apostles, evangelists, martyrs, confessors, doctors, virgins, and the orders of angels, the whole from a design given to him by Matteo, who was a worthy and educated man. He executed this work with the greatest mastery and diligence, introducing the portraits of Matteo and his wife on their knees. But although the great beauty of this work could find no other fault with it, said that Matteo and Sandro were guilty of grave heresy. Whether this be true or not, I cannot say. (Giorgio Vasari)
”
This is a common misconception based on a mistake by Vasari. The painting referred to here, now in the National Gallery in London, is by the artist Botticini. Vasari confused their similar sounding names.
In the popular TV sitcom Frasier, Botticelli is mentioned along with other notable artists. In the episode To Tell the Truth, Niles compliments Roz's baby pictures by declaring "Botticelli himself couldn't have painted a more perfect angel."
Botticelli is also mentioned in the Anne Rice novels "Blood and Gold", "The Vampire Armand", and "Vittorio the Vampire". One of Armand's many nicknames is 'Botticelli Angel' and In "Blood and Gold", Botticelli is seen to hold a number of conversations with the story's main character Marius. He is also mentioned along with his painting "the Birth of Venus" later on in the book.
There is an episode of The Simpsons where Homer daydreams about an attractive new female co-worker by picturing her as the goddess Venus in Botticelli's painting The Birth of Venus.
In The Da Vinci Code, Botticelli's The Birth of Venus is on the cover of Langdon's Book.
The Desperate Housewives TV Show title theme bears some resmblence to Botticelli's Primavera.
He and Filippo Lippi are mentioned in episode 7 of Gunslinger Girl.
A magazine advertisement for the premiere of The Ellen DeGeneres Show in 2003 featured Ellen DeGeneres in a tan-colored suit posed as Venus in The Birth of Venus.
The splash page of the vector graphics program Adobe Illustrator features various versions of Venus's face from "The Birth of Venus."
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