- Arts and Design
Sandro Botticelli - The birth of Venus - famous renaissance paintings
Sandro Botticelli, the most famous painter of Florence.
Sandro Botticelli was the most famous painter of Florence of his time (c.1445-1510). Botticelli was sertenly the most individual,if not the most influential painter of Florence at the end of the 15th century. His works where then well known and imitated by many. The most famous painting of Sandro Botticelli is probably a big painting made with the tempera technique, which is based upon eggs and pigment. It is this painting of the woman standing in a shell on the shore which made Botticelli famous. the birth of Venus
Selected Books about Botticelli
Botticelli the myth maker.
Botticelli was probably a pupil of Fra Filippo Lippi but was influenced by Pollaiuoli for a short time around 1470, when he painted a Fortitude to go with a set of six other Virtues by Piero Pollaiuoli (wich can be seen in the Uffizi). The chronology of his work is difficult to establish since it ranges between the vigorous realism of the 1470 Fortitude and the anti-naturalistic ecstasy of his last dated work,the Mystic Nativity.
His style looks deliberately archaic; just as his most famous and celebrated mythological paintings - The Primavera and the The Birth of Venus. They both have a very allegorical and christian meaning. Probably the where painted for the Medici family. The family in power in the city of Florence.
Botticelli is one of the most beloved figures of the Renaissance period and his seductive Venus and graceful Primavera are among the world's most recognizable works of art. Now available in an attractive and accessibly priced hardcover edition, this catalogue raisonne of Botticelli's paintings offers meticulous scholarship by the distinguished Renaissance art historian Frank Zollner and more than two hundred full-colour illustrations. As The Financial Times praised the previous edition of the book, Zollner is a fabulous, accessible scholar; his book has luscious reproductions and exquisite detail.A" Presented in chronological order, the facts of Botticelli's life and career are insightfully discussed against the background of the artistic upheaval that marked the Renaissance period. The artist's reinterpretations of ancient myths as well as his religious paintings are thoughtfully explored in this sumptuously illustrated volume, which will please scholars and delight lovers of fine art books everywhere.
Botticelli and Dante
the poetical painter.
Botticelli is before all things a poetical painter, blending the charm of story and sentiment, the medium of the art of poetry, with the charm of line and colour, the medium of abstract painting. So he becomes the illustrator of Dante. In a few rare examples of the edition of 1481, the blank spaces, left at the beginning of every canto for the hand of the illuminator, have been filled, as far as the nineteenth canto of the Inferno, with impressions of engraved plates, seemingly by way of experiment, for in the copy in the Bodleian Library, one of the three impressions it contains has been printed upside down, and much awry, in the midst of the luxurious printed page. Giotto, and the followers of Giotto, with their almost childish religious aim, had not learned to put that weight of meaning into outward things, light, colour, everyday gesture, which the poetry of the Divine Comedy involves, and before the fifteenth century Dante could hardly have found an illustrator. Botticelli's illustrations are crowded with incident, blending, with a naïve carelessness of pictorial propriety, three phases of the same scene into one plate. The grotesques, so often a stumbling-block to painters who forget that the words of a poet, which only feebly present an image to the mind, must be lowered in key when translated into form, make one regret that he has not rather chosen for illustration the more subdued imagery of the Purgatorio. Yet in the scene of those who "go down quick into hell," there is an invention about the fire taking hold on the upturned soles of the feet, which proves that the design is no mere translation of Dante's words, but a true painter's vision; while the scene of the Centaurs wins one at once, for, forgetful of the actual circumstances of their appearance, Botticelli has gone off with delight on the thought of the Centaurs themselves, bright, small creatures of the woodland, with arch baby face and mignon forms, drawing tiny bows.