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Alessandro Filipepi - Sandro Botticelli
 Sandro
Botticelli, a Florentine painter, was one of the most distinctive and popular of
the Renaissance artists. Sandro
Botticelliwas Florentine and extremely successful at the peak of his career, with a highly individual and graceful style founded on the rhythmic capabilities of outline. With the emergence of the High Renaissance style at the turn of the 16th century,
Sandro Botticelli fell out of fashion, died in obscurity and was only returned to his position as one of the best-loved
15th Century Italian painters through the interest of Ruskin and the Pre-Raphaelites. His nickname "Botticelli" means "little barrel" and was originally bestowed on his older brother,
but for some reason the name was passed on to him. Alessandro Filipepi, known as Sandro Botticelli, began his career during the Italian Renaissance period. Botticelli was born in Florence around 1445 where he would live out the rest of his life. As the youngest of five children, Botticelli’s father, a tanner, allowed him to become an apprentice to a goldsmith. After a time, Sandro Botticelli convinced his father that he wanted to study painting and was chosen to be apprentice to the well known painter Fra Filippo Lippi. Lippi was well known for how he used color on church altarpieces and helped Sandro discover a similar style for his own work. Sandro Botticelli developed tender expressions in his subjects face and in their gestures. He also used decorative details that were influenced by his training. Sandro Botticelli quickly became recognized as a gifted artist all by himself. By the time he was 15 years old, Sandro Botticelli was able to open a workshop dedicated to his own work.  Sandro
Botticelli had his own workshop by 1470. He spent almost all of his life working for the great families of Florence, especially the Medici family, for whom he painted portraits, most notably the
"Giuliano de' Medici". "Adoration of the Magi" (shown here) was painted on commission, though not for the Medicis, and contains likenesses of the Medici family. As part of the brilliant intellectual and artistic circle at the court of Lorenzo de' Medici, Botticelli was influenced by its Christian Neoplatonism, which tried to reconcile classical and Christian views. This influence may be the theme of two larger panels commissioned for Medici villas and now in the Uffizi, Primavera and "Birth of Venus". While scholars have not yet conclusively deciphered these paintings, their slender elegant figures, which form abstract linear patterns bathed in soft golden light, may depict Venus as a symbol of both pagan and Christian love. 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 widespread 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.  Sandro
Botticelli also painted religious subjects, especially panels of the Madonna, such as the Madonna of the Magnificat, Madonna of the Pomegranate, and Coronation of the Virgin, all in the Uffizi, and Madonna and Child with Two Saints. Other religious works include Saint Sebastian and a fresco, Saint Augustine. In 1481
Sandro Botticelli was one of several artists chosen to go to Rome to decorate the walls of the Sistine Chapel in the Vatican. There
Sandro Botticelli executed "The Youth of Moses", the "Punishment of the Sons of Corah", and the
"Temptation of Christ". Sandro Botticelli returned to Florence, and "being of a sophistical turn of mind, he wrote a commentary on a portion of Dante and illustrated the Inferno which he printed.
After spending much time working on the writing and little time on his
painting, Sandro Botticelli suffered in his living." Vasari characterized the first printed Dante in 1481, with
Sandro Botticelli's decorations an unimaginable option that Sandro
Botticelli would choose the new art of printing over painting.In the mid-1480s Botticelli worked on a major fresco cycle with Perugino, Ghirlandaio, and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition Sandro Botticelli painted many frescoes in Florentine churches. In the 1490s, when the Medici were expelled from Florence and the fanatic Dominican monk Girolamo Savonarola preached austerity and reform, Botticelli experienced a religious crisis. His subsequent works, such as the Pietà and especially the Mystic Nativity and Mystic Crucifixion, reflect an intense religious devotion. |
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