100% hand painted, 100% cotton canvas, 100% money back if not satisfaction.
Sandro Botticelli
Italian Early Renaissance Painter, 1445-1510
Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
Sandro Botticelli Mystic Natitity (mk36)
new8/Sandro Botticelli-566972.jpg 1501
Detail of angels with crowns and scrolls and wise men
London,National Gallery
Sandro Botticelli Three miracles of St Zanobius (mk36)
new8/Sandro Botticelli-659572.jpg driving the demon out of two youths
reviving a dead child,
restoring sight to a blind man
c.1495-1500
London,National Gallery
Sandro Botticelli Three miracles of St Zanobius reviving the dead (mk36)
new8/Sandro Botticelli-254857.jpg 1495-1500
New York,Metropolitan Museum of Art
Sandro Botticelli Last miracle child revived by the Deacons Eugenius and Crescentius (mk36)
new8/Sandro Botticelli-888953.jpg 1495-1500
Dresden,Staatliche Kunstsammlungen Gemaldegalerie Alte Meister.
Sandro Botticelli Stories of Lucretia (mk36)
new8/Sandro Botticelli-798945.jpg 1500-1504
Detail of the attack on Lucretia.
Boston,Isabella Stewart Gardner Museum
Sandro Botticelli Stories of Virginia (mk360
new8/Sandro Botticelli-875333.jpg 1500-1504
detail of Virginia attacked among the women.
Bergamo,Accademia Carrara
Sandro Botticelli Porfile of a Young Woman (mk45)
new2/Sandro Botticelli-995596.jpg after 1480
Oil on panel
47.5x35cm
Berlin,Staatliche Mussn zu Berlin-Preubischer Kulturbesitz,Gemaldegalerie
Sandro Botticelli Young Man With a Medallion of Cosimo (mk45)
new2/Sandro Botticelli-964472.jpg c.1474
Oil on panel
57x44cm
Florence,Galleria degli Uffizi
Sandro Botticelli Filippo Lippi,Madonna with Child and Angels or Uffizi Madonna
new2/Sandro Botticelli-888243.jpg 1464--1465
Florence,Galleria degli Uffizi (mk57)
Sandro Botticelli Madonna of the Rose Garden or Madonna and Child with St John the Baptist
new2/Sandro Botticelli-462984.jpg C 1468
Detail Paris Musee du Louvre (mk57)
Sandro Botticelli Filippo Lippi,Stories of St John the Baptist:the Banquet of Herod
new2/Sandro Botticelli-458764.jpg 1452--1465
detail Prato,Duomo (mk57)
Italian Early Renaissance Painter, 1445-1510
Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s
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