This picture was probably ordered to celebrate a marriage, a A Lady in Profile. Follower of Sandro Botticelli. Portraits like this — of idealised women, seen in profile — were popular in fifteenth-century Florence. This picture is not by Botticelli but by his workshop, which was one of many that produced them. The women usually have fair hair, pale skin and rosy lips, as this was thought to be the most be Gallery A: Paintings The Virgin and Child. The dark background and absence of any furnishings focus attention on the Virgin Mary, who makes direct eye contact with the viewer.
She stands underneath an open curtain, holding her infant son as if to prevent him from falling from the narrow ledge in the foreground. A transparent veil does lit Workshop of Sandro Botticelli. The Virgin Mary sits in the corner of a simple room, the Christ Child on her lap. She holds him gently with both hands as he presses his cheek to hers and reaches for her breast.
The gauzy shirt he wears contrasts with the layers of veils and garments covering his mother. Light streaming through t The Virgin and Child with a Pomegranate. The Virgin Mary stands with her infant son, Christ, in the corner of a large but sparsely decorated room. He is balanced on a small table, the only piece of furniture, but is dangerously close to its edge; a closed book further restricts the space available to him.
The Virgin uses both hands to s Restored in —19, this is one of the more significant paintings of the Virgin Mary to survive from the workshop of the Florentine Renaissance artist Sandro Botticelli. The exposed breast with which the Virgin Mary is nourishing her infant son, the Christ Child, is central to the design of the The Virgin Mary sits on a stepped bench in front of a bed of roses, the infant Christ resting on her lap.
Both figures make direct eye contact with the viewer, while an angel to either side holds a jewelled crown o Despite a considerable amount of fame and recognition, Botticelli's working career is blighted by its conclusion, which was undermined by the new artistic movement of the High Renaissance. Details about Botticelli's personal life are sparse, but his prolific professional career is well documented due to the stunning heights of his fame.
Botticelli's career started at age 14, where he was apprenticed to Fra Filippo Lippi who had a noticeable effect on his painting style and many historians are keen to note that he adopted Lippi's intimate and detailed artistic technique. Such delicate expressions on the faces of Botticelli's models in addition to his decorative approach led to his growing notoriety as an artist.
Botticelli's rising talent meant that by the age of 15 he was able to open a workshop of his own. Such a development of talent led to a distinctive artistic style, which was epitomized by life-like figures with a sad or melancholic style. Perhaps one of the most striking aspects of his work that definitely lent to his popularity at the time was his incorporation of Neo-Platonism.
The method meant that he could appeal to many tastes by including Christianity and paganism in his works. Many historians note that Botticelli suffered from unrequited love towards the model of his Birth of Venus painting. Some scholars have considered this to be a misreading of Botticelli and have stressed his Florentine concern for solidly modeled form and religious exposition.
With this criticism, admiration for his work has subsequently declined. Recent study has also tended to reject the picture of Botticelli as first a member of Lorenzo's intellectual circle and later a devotee of the religious reformer Girolamo Savonarola.
In his late years Botticelli was crippled and failed to receive commissions, but he may have continued to work on his set of drawings never finished illustrating Dante's Divine Comedy. By about , when the young Raphael came to Florence to observe the new models of Leonardo and Michelangelo, Botticelli's art must have seemed obsolete, even though it had been widely imitated in the s.
To read more about Botticelli and his works please choose from the following recommended sources. Hein Schultze. Botticelli: Life and Work. The Rebirth of Venus. Parkstone Inter, Home Sandro Botticelli. Sandro Botticelli. Primavera Sandro Botticelli. Andrea del Verrocchio Florence St. Antonio del Pollaiolo Florence. Date of Creation Height cm Birth of Venus Paintings A painting which depicts the goddess Venus, hav It wa Fortitude Paintings This work originally belonged to a set of seven Minerva and the Centaur Paintings This mythological painting shows, as in several As in his other religious paintings, Botticelli inserts homage to his patron here.
The top left of the scene is a forest filled with oak trees, which would have been read as being symbolic of the powerful Della Rovere family to which Pope Sixtus IV belonged. Both feature mythological subjects that embody the values that took hold in Italy at the time.
Many of those beliefs were derived from humanism, an intellectual movement that placed an emphasis on classical literature, philosophy, and science with the hope of moving toward a purer form of Christianity. Taking cues from images produced by ancient Greek artists, The Birth of Venus features a central female figure modeled on the sculpture Venus pudica.
Famously, the image shows the goddess arriving on the shore of Cythera amid white-capped waves and floating flora. Venus is again the central figure in this work, here representing marriage and fertility; her son Cupid is shown blindfolded and pointing an arrow of desire toward the Three Graces, which are symbolic of the virtues Chastity, Beauty, and Love.
At the far left of the painting, Mercury clears wintry clouds away with his staff to ring in the beginning of spring, and to the far right of the painting Zephyrus, the west wind, pursues Chloris, initiating her transformation into Flora, the goddess of spring. The painting merges tropes derived from Gothic religious painting with the classical ideas favored by the humanists that were percolating during the early Renaissance. Both paintings are currently held in the Uffizi Gallery in Florence, where they are among the two top attractions at the museum.
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