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Botticelli bridged the gap between the Medieval Gothic style of painting and an emerging Humanist Realism. His work incorporated an emerging knowledge of human anatomy and perspective, yet it retains a decorative quality, not found in the work of artists of the succeeding High Renaissance , or for a long time afterwards.
- Italian
- Florence, Italy
Feb 25, 2022 · Sandro Botticelli, a Florentine artist, was perhaps the best humanist artist of the Early Renaissance, despite the fact that much of his background and influences are still unknown to us today. Botticelli’s artworks symbolize the peak of the Medici’s intellectual affluence in Florence, an affluent society that fostered the advancement of ...
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Only one of Botticelli's paintings, the Mystic Nativity (National Gallery, London) is inscribed with a date (1501), but others can be dated with varying degrees of certainty on the basis of archival records, so the development of his style can be traced with some confidence. He was an independent master for all the 1470s, which saw his reputation soar.
Jan 25, 2021 · Botticelli’s ascendant star rose alongside the reign of Lorenzo the Magnificent, who cultivated an elite circle of humanist scholars, art patrons, and bankers. Sandro Botticelli, Adoration of ...
- Angelica Villa
Oct 6, 2021 · Sandro Botticelli (c. 1445–1510) was a prominent Italian painter of the Quattrocento or Early Renaissance. Roughly seven years older than Leonardo da Vinci, he was one of the first artists of this era to depict humanist subject matter, such as scenes from classical mythology. Additionally, his many influential patrons, including members of ...
This humanist interest in ancient allegories culminated in The Birth of Venus and Primavera—two tempera paintings starring Venus and other significant mythological figures. Analyzing Botticelli's Primavera. Venus, the goddess of love, is featured in the center of Primavera.
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Sep 25, 2024 · Botticelli’s art from that time shows a use of ochre in the shadowed areas of flesh tones that gives a brown warmth very different from Lippi’s pallor. The forms in his paintings are defined with a line that is at once incisive and flowing, and there is a growing ability to suggest the character and even the mood of the figures by action, pose, and facial expression.