Biography Sandro Botticelli. Works of artist known all over the world

Botticelli Sandro [Associate Alessandro di Mariano Filipepi, Alessandro di Mariano Filipepi] (1445, Florence - May 17, 1510, Florence), Italian painter of the Early Renaissance, representative of the Florentine school. Sandro Botticelli is one of the brightest artists of the Italian Renaissance. He created the captivating images of the allegory of the allegoria and presented the world of female beauty. Born in the family of a blizzard of Mariano di Banny Filipei; Nickname "Botticello" - "Barrel" - inherited from the older brother Giovanni. Among the first information about the artist is an entry in the cadastre of 1458, made by the Father about the unhealthy of his youngest son. At the end of the study, Botticelli became an impetition in the jewelry workshop of his brother Antonio, but for a long time he was not delayed and about 1464 moved to the students to the monk Fir Philippo Lippi from the monastery of the carmine, one of the most famous artists of that time.

Filippo Lippi's style had a huge impact on Botticelli, manifested mainly in certain types of persons (in turning in three quarters), decorativeness and ornamentality of the drawing of drapery, hands, in the tendency to detail and soft flavor, in its "wax" luminescence. There are no accurate information about the period of learning Botticelli from Philippo Lippi and their personal relationships, but it can be assumed that they were quite laid among themselves, because in a few years the Son of Lippi became a student of Botticelli. Their cooperation continued until 1467, when Philippo moved to Spoleto, and Botticelli opened his workshop in Florence. In the works of the end of the 1460s, fragile, plane linearity and grace taken over from Filippo Lippi are replaced by a more volumetric interpretation of figures. At about the same time, Botticelli began to use oath shadows for transmission of corporal color - the reception that became a noticeable line of its style. The early works of Sandro Botticelli are characterized by a clear construction of space, clear black and white modeling, interest in household details ("worship of Magi", about 1474-1475, Uffizi).

Since the end of the 1470s, after the rapprochement of Botticelli with the kard of the rulers of Florence Medici and the circle of Florentine Humanists, the features of aristocracy and refinement increase in his work, paintings on antique and allegorical topics appear, in which sensual pagan images are implanted sublime and at the same time poetic, lyrical spirituality ("Spring", about 1477-1478, "Birth of Venus", about 1482-1483, both in Uffizi). Landscape animation, fragile beauty of the figures, musicality of the lungs, strain lines, the transparency of the sophisticated, as if woven of paints from reflexes, create an atmosphere of dreaminess and light bears in them.

Machine portraits of the artist (portrait of a man with a medal, 1474, Gallery Uffizi, Florence; Portrait of Juliano Medici, 1470s, Bergamo; and others) peculiar to the combination of subtle nuances of the inner state of the human soul and clear detail of the characters portrayed. Thanks to Medici Botticelli, I got acquainted with the ideas of humanists (a significant number of them was part of the Circle of Medici, a kind of elite intellectual center of the Renaissance Florence), many of which were reflected in his work. For example, the mythological paintings ("Athena Pallada and Centaur", 1482; "Venus and Mars", 1483 and others) were, naturally written by the artist Botticelli by order of the cultural elite and were intended to decorate the palazzo or villas of noble Florentine customers. Until the time of creativity Sandro Botticelli mythological themes in painting met in decorative decorations of wedding casson and applied art objects, only occasionally becoming the object of painting.

In 1481, Sandro Botticelli received an honorary order from Pope Siksta. Pontiff just finished the construction of the Sicastine Chapel of the Vatican Palace and wished that the best artists decorated it with their frescoes. Along with the most famous masters of monumental painting of that time - Perugino, Kozimo Rossellini, Domenico Girondayo, Pinturichchino and Signorelli - at the direction of the dad was invited and Botticelli. In performed by Sandro Botticelli in 1481-1482 frescoes in the Sicastine Chapel in the Vatican ("Scenes from the life of Moses", "Punishment of Korea, Daphan and Abirone", "Healing and the Temptation of Christ") The majestic harmony of the landscape and the ancient architecture combined with the internal storyliness , sharp portrait characteristics. In all three frescoes, the artist will solve the problem of presenting the complex theological program in clear, lungs and living dramatic scenes; At the same time, composite effects are fully used.

Botticelli returned to Florence in the summer of 1482, perhaps because of the death of his father, but most likely, on affairs of his own workshop, downloaded by work. In the period between 1480 and 1490, his glory reached apogee, and he began to receive a huge number of orders that it was almost impossible to cope with them, so most of the paintings "Madonn with a baby" ended his students, diligently, but not always brilliantly who copied the manner of his master. During these years, Sandro Botticelli wrote a few frescoes for a Medici in Wolterre Villa (1483-84), a picture for the Altar Niche in Kapelie Bardi at the Church of Santo Spirito (1485) and a few frescoes of allegorical content on Ville Lemmy. Magic grace, beauty, wealth of imagination and brilliant performance inherent in paintings on mythological topics are also present in several famous Botticelli altars written during the 1480s. The best belongs to Altar Bardi with the image of Madonna with the baby and the Holy John the Baptist and John Evangelist (1485) and the "Annunciation of Chestello" (1489-1490, Uffizi).

In the 1490s, in the era of shook Florence of social ferments and mystico-ascetic sermons of the monk Savonarola, in the art of Botticelli, notes of drama, morality and religious exaltation appear ("Mailing Christ", after 1490, Museum of Polandi Petzoli, Milan; "slander" , after 1495, Uffizi). The sharp contrasts of bright color spots, the internal tension of the drawing, the dynamics and expression of images indicate an extraordinary change in the artist's worldview - towards greater religiosity and even peculiar mysticism. However, his drawings to the "Divine Comedy" of Dante (1492-1497, the Graving Cabinet, Berlin, and the Vatican Library) in the sharpness of emotional expressiveness retain the ease of the line and the renaissance clarity of images.

In recent years, the artist's life of His glory kneaded to the sunset: the era of new art and, accordingly, a new fashion and new tastes were coming. In 1505, he entered the city committee, which was to determine the place of installation of the statue of Michelangelo - his "David", but except for this fact of other information about the last years of Botticelli's life is unknown. It is noteworthy that when in 1502, Isabella Deste was looking for a Florentine artist and Botticelli for himself gave his consent to work, she rejected his services. Vasari in their "life tracks ..." drew a depressing picture of the last years of the artist's life, describing him as a person of the poor, "old and useless", unable to hold on the legs without the help of crutches. Most likely, the image of a completely forgotten and poor artist is the creation of a vazari, which was inclined to the extremes in the life of the artists.

Sandro Botticelli died in 1510; This ended the quatrocheto - this happiest epoch in Florentine art. Botticelli died at the age of 65 and was buried in the cemetery of the Florentine Church of Ontissanti. Up until the 19th century, when his work was again opened by the artist-Pre-Faelitis Dante Gabriel Rossetti and artistic critics Walter Paterome and John Kreskin, his name was actually forgotten for the history of art. In Botticelli, they saw the preferences of their era - spiritual grace and melancholy, "sympathy for humanity in his unstable states", traits of pain and decades. The next generation of Botticelli's painting researchers, for example Herbert Horn, who wrote in the first decades of the 20th century, was distinguished in it - the ability to convey the plastic and the proportions of the shapes - that is, the signs of an energetic language characteristic of the art of the early Renaissance. We have quite different estimates. What determines the art of Botticelli? The XX century did a lot in order to approach his understanding. Master's paintings were organically included in the context of his time, tied with a rifle life, literature and humanistic ideas of Florence. Painting Botticelli, attractive and mysterious, consonant with worldview not only the epochs of the early Renaissance, but also of our time.

Botticelli Sandro [Associate Alessandro di Mariano Filipepi, Alessandro Di Mariano Filipepi] (1445, Florence - May 17, 1510, Florence), the great Italian painter of the Early Renaissance, representative of the Florentine school. Sandro Botticelli is one of the brightest artists of the Italian Renaissance. He created the captivating images of the allegory of the allegoria and presented the world of female beauty. Born in the family of a blizzard of Mariano di Banny Filipei; Nickname "Botticello" - "Barrel" - inherited from the older brother Giovanni.

Among the first information about the artist is an entry in the cadastre of 1458, made by the Father about the unhealthy of his youngest son. At the end of the study, Botticelli became an impetition in the jewelry workshop of his brother Antonio, but for a long time he was not delayed and about 1464 moved to the students to the monk Fir Philippo Lippi from the monastery of the carmine, one of the most famous artists of that time.

Filippo Lipppi's style had a huge influence on the young artist, manifested mainly in certain types of persons (in turning in three quarters), decorativeness and ornamental drawings of the drapery, hands, in the tendency to detail and soft flavor, in its "wax" luminescence. There are no accurate information about the period of learning Botticelli from Philippo Lippi and their personal relationships, but it can be assumed that they were quite laid among themselves, because in a few years the Son of Lippi became a student of Botticelli. Their cooperation continued until 1467, when Filippo moved to Spoleto, and Sandro opened his workshop in Florence.

In the works of the late 1460s, fragile, plane linearity and grace taken over by a young painter from Filippo Lippi are replaced by a more volumetric interpretation of figures. At about the same time, Botticelli began to use oath shadows for transmission of corporal color - the reception that became a noticeable line of its style. An early work is characterized by a clear construction of space, clear black and white modeling, interest in household details ("worship of the Magi", about 1474-1475, Uffizi).

From the end of the 1470s, after the artist's rapprochement of the artist with the kard of the ruler of Florence Medici and the circle of Florentine humanists, the features of aristocratic and refinement are intensified in his work, the features of antique and allegorical topics appear, in which sensual pagan images are imbued with elevated and at the same time poetic, lyrical spirituality ("Spring", about 1477-1478, "Birth of Venus", about 1482-1483, both in Uffizi). Landscape animation, fragile beauty of the figures, musicality of the lungs, strain lines, the transparency of the sophisticated, as if woven of paints from reflexes, create an atmosphere of dreaminess and light bears in them.

Machine portraits of the artist (portrait of a man with a medal, 1474, Gallery Uffizi, Florence; Portrait of Juliano Medici, 1470s, Bergamo; and others) peculiar to the combination of subtle nuances of the inner state of the human soul and clear detail of the characters portrayed. Thanks to Medici Botticelli, I got acquainted with the ideas of humanists (a significant number of them was part of the Circle of Medici, a kind of elite intellectual center of the Renaissance Florence), many of which were reflected in his work. For example, mythological paintings ("Athena Pallada and Centaur", 1482; "Venus and Mars", 1483 and others) were naturally written by an artist commissioned by the cultural elite and were intended to decorate the Palazzo or villas of noble Florentine customers. Until the time of creativity Sandro Botticelli mythological themes in painting met in decorative decorations of wedding casson and applied art objects, only occasionally becoming the object of painting.

In 1481, Sandro Botticelli received an honorary order from Pope Siksta. Pontiff just finished the construction of the Sicastine Chapel of the Vatican Palace and wished that the best artists decorated it with their frescoes. Along with the most famous masters of monumental painting of that time - Perugino, Kozimo Rossellini, Domenico Girondayo, Pinturichchino and Signorelli - at the direction of the dad was invited and Botticelli. In the painted painter in 1481-1482, the frescoes in the Siccstinian chapel in the Vatican ("scenes from the life of Moses", "Punishment of Korea, Dafan and Abirone", "Healing Leading and Temptation of Christ") The majestic harmony of the landscape and the ancient architecture is combined with the internal storyliness , sharp portrait characteristics. In all three frescoes, the artist will solve the problem of presenting the complex theological program in clear, lungs and living dramatic scenes; At the same time, composite effects are fully used.

Botticelli returned to Florence in the summer of 1482, perhaps because of the death of his father, but most likely, on affairs of his own workshop, downloaded by work. In the period between 1480 and 1490, his glory reached apogee, and he began to receive a huge number of orders that it was almost impossible to cope with them, so most of the paintings "Madonn with a baby" ended his students, diligently, but not always brilliantly who copied the manner of his master. During these years, Botticelli wrote several frescoes for a Medici at Villa Spitaletto in Volterra (1483-84), a picture for the altar niche in Kapelie Bardi at the Church of Santo Spirito (1485) and a few frescoes of allegorical content at Ville Lemmy. Magic grace, beauty, wealth of imagination and brilliant performance inherent in paintings on mythological topics are also present in several famous Botticelli altars written during the 1480s. The best belongs to Altar Bardi with the image of Madonna with the baby and the Holy John the Baptist and John Evangelist (1485) and the "Annunciation of Chestello" (1489-1490, Uffizi).

In the 1490s, in the era of shook Florence of social ferments and mystico-ascetic sermons of the monk Savonarola, in the art of Botticelli, notes of drama, morality and religious exaltation appear ("Mailing Christ", after 1490, Museum of Polandi Petzoli, Milan; "slander" , after 1495, Uffizi). The sharp contrasts of bright color spots, the internal tension of the drawing, the dynamics and expression of images indicate an extraordinary change in the artist's worldview - towards greater religiosity and even peculiar mysticism. However, his drawings to the "Divine Comedy" of Dante (1492-1497, the Graving Cabinet, Berlin, and the Vatican Library) in the sharpness of emotional expressiveness retain the ease of the line and the renaissance clarity of images.

Fragments of paintings and frescoes of the artist

In recent years, the artist's life of His glory kneaded to the sunset: the era of new art and, accordingly, a new fashion and new tastes were coming. In 1505, he entered the city committee, which was to determine the place of installation of the statue of Michelangelo - his "David", but except for this fact of other information about the last years of Botticelli's life is unknown. It is noteworthy that when In 1502, Isabella D "Estea was looking for a Florentine artist and Botticelli for himself gave his consent to work, she rejected his services. Vazari in his" life ways "drew a depressing picture of the last years of the artist's life, describing him as a person poor," The old and useless ", unable to hold on the legs without the help of crutches. Most likely, the image of a completely forgotten and poor artist is the creation of a Vazari, which was inclined to the extremes in the life-writings of artists.

Sandro Botticelli died in 1510; This ended the quatrocheto - this happiest epoch in Florentine art. The great painter died at the age of 65 and was buried at the cemetery of the Florentine Church of Ontissanti. Up until the 19th century, when his work was again opened by the artist-Pre-Faelitis Dante Gabriel Rossetti and artistic critics Walter Paterome and John Kreskin, his name was actually forgotten for the history of art. In the work of Botticelli, Prerafaelites saw the relatives of their era - spiritual grace and melancholy, "sympathy for humanity in his unstable states", damages of pain and decades. The next generation of Botticelli's painting researchers, for example Herbert Horn, who wrote in the first decades of the 20th century, was distinguished in it - the ability to convey the plastic and the proportions of the shapes - that is, the signs of an energetic language characteristic of the art of the early Renaissance. We have quite different estimates. What determines the art of the Great Florentine quatropento period? The XX century did a lot in order to approach his understanding. Master's paintings were organically included in the context of his time, tied with a rifle life, literature and humanistic ideas of Florence. Painting Botticelli, attractive and mysterious, consonant with worldview not only the epochs of the early Renaissance, but also of our time.

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The real name of Sandro Botticelli is Alessandro di Mariano Filipei. It is difficult to name the artist of the Renaissance, whose name would be more connected with the history of Florence. He was born in the family of Kozhevnik Mariano Banny Filipei. After the death of the father, the head of the family becomes the elder brother, the promotional exchange department, the nicknamed Botticelli (barrel), this nickname stuck to him either for excessive addiction to the guilt, or because of its completeness.

Fifteen-sixteen years old, a gifted boy enters the workshop of the famous Philippi Lippi. Having assumed the technique of fresco painting, Alessandro Botticelli (the nickname of brother became a kind of pseudonym of the artist) enters the most famous artistic workshop of Andrea Verokko in Florence. In 1469, Sandro Botticelli was represented by the State Florentine Republic of Tomazo Soletian, who brought the artist with a Medici family.

The lack of privileges provided by wealth and knowledge, with his youth taught Sandro to rely only on their own energy and talent. A real school for the "shackless head" - the young Sandro steel of Florence with their wondrous architecture and temples with statues and frescoes of the Renaissance of the Renaissance of Jotto and Mazacho.

Looking for freedom and creativity Painter acquires her not in traditional church plots, and where his love and passion are "bought it." Interested and knowing how to like, he very soon finds his ideal in the image of a teenage girl, inquisitively knowing the world. Botticelli considered the singer of sophisticated femininity. An artist gives all his Madonnah like sisters, the same heartfelt, thinking, charuly wrong face.

The artist spars together his observations of life with impressions of ancient and new poetry. Thanks to the mythological genre, Ithalan's painting becomes secular and, breaking behind the walls of churches, enters the housing of people everyday source of pleasure.

For the family, Medici Botticelli performed his most famous and large orders. Sandro never left Florence for a long time. An exception is his trip to Rome to the Papal Dvor in 1481-1482 for painting as part of the group of artists of the Library of the Sistine Chapel. Returning, he continues to work in Florence. At this time, his most famous work was written - Spring, the birth of Venus.

The political crisis in Florence, which broke out after the death of Lorenzo magnificent, and coming to the spiritual power in the city of the Militant Preacher Savonarola, could not but affect the artist's work. Losing the moral support in the face of the Medici family, deeply religious and consuming man, he fell into a spiritual dependence on an exalted-religious and intolerable preacher. Secular motifs almost completely disappeared from the creativity of the Master. The beauty and harmony of the world, such a worried artist, no longer touched his imagination.

His works on religious topics dry and overwhelmed with details, the art language became more archaic. The execution of Savonarola in 1498 caused a deep mental crisis from Botticelli.

In the last years of his life, he stopped writing at all, considering this classes in sinful and fussy.

Simonetta was one of the most beautiful women of Florence. She was married, but many young people from rich families dreamed of beauty, provided her signs of special attention. She loved the brother of the rulers of Florence Lorenzo Medici - Juliano. According to rumors, Simonetta answered the reciprocity of a beautiful, very soft young man. Husband, Senor Vespucci, taking into account the importance and infractions of the Medici family, was forced to endure a similar position. But the people of Florence, thanks to the beauty of Simonetta, her mentality, loved the girl very much.
A young woman stands, turning to our profile, on the background of the wall clearly performs her face. The woman holds straight and strictly, with a complete feeling of self-esteem, and her eyes are decisively and slightly strictly looking into the distance. This young, light-eyed Florenty is impossible to refuse beauty, charm, charm. The bending of its long neck and the soft line of low shoulders captivate with their femininity
The fate was to Simoneette Surov - she dies from severe illness in the heyday, at 23 years old.

The picture "Spring" introduces the viewer to the enchanted, magical garden, where the heroes of ancient myths are danced and dancing.
All ideas about the days of the year are shifted here. On the branches of trees - large orange fruits. And next to the juicy gifts of Italian summer - the first greens of spring. In this garden, time stopped in order for one moment to capture the eternal beauty of poetry, love, harmony.
In the middle of the flowering meadow there is Venus - the Goddess of Love and Beauty; It is represented here in the form of an elegant young girl. Its thin graceful curved figure with a light spot is highlighted against the dark mass of the bush, and the branches tendered over it form a semicircular line - a kind of triumphal arch, created in honor of the queen of this spring holiday, which she autokes the blessing gesture of the hand. Amur pickled over Venus - a playful little God, in his eyes the bandage and, without seeing anything in front of him, he starts a burning arrow into space, designed to ignore the love of someone's heart. To the right of Venus, her companions dance - three graces - blond creatures in transparent white clothes, which do not hide the form of bodies, and slightly soften it whistlingly by cushioning folds.
Near the dancing graces is the Bulletin of the Mercury Gods; It is easy to find out according to the traditional roma-kaduchi, with the help of which, according to mythology, he could generously to bestow people, and on the winged sandals, which gave him the opportunity to sleep with a lightning place from one place to another. A knightly helmet will be put on his dark curls, a red raincoat will be thrown through the right shoulder, over the raincoat on the swallow sword with a sharply curved blade and a magnificent handle. Looking upwards, Mercury raises over his head of kaduchi. What does his gesture mean? What gift he brought in the kingdom of spring? Perhaps he disperses the cloud's rod so that no drop is disturbed by the garden enchanted in his blossom.
From the depth of ages, by the cloncing trees, the God of Wind Marshmallow, embodying the spontaneous origin in nature. This is an unusual creature with bluish skin, blue wings and hair, in a raincoat of the same color. It chases the young nymph chloe fields. Looking around his pursuer, it almost drops forward, but the hands of a buoy wind have time to pick up and keep it. Flowers appear on the breath of marshmallows on the lips of the nymphs, while driving, they mixed with those whipped flora.
On the head of the goddess fertility - a wreath, on the neck - a flower garland, instead of a belt - a branch of roses, and all clothes are shykina with motley colors. Flora is the only one of all the characters go straight to the viewer, she seems to look at us, but she does not see us, it is immersed in itself.
In this thoughtful melodic composition, where the fragile charm of the new Bottichellyan type sounded in different ways in exquisite to the transparency of the visits of dancing graces, Venus and Flora, the artist offers thinkers and ruler's own version of the wise and fair world order, where the beauty and love is ruled.

Goddess of fertility - Flora.

Spring itself!

An amazing picture, creates an atmosphere of dreaminess, bright bears. The artist first depicted a naked goddess of love and beauty to Venus from an ancient myth. The beautiful goddess, born of a marine foam, under the dover of the winds, standing in a huge sink, slides on the surface of the sea to the shore. To meet her hurry to the nymph, getting ready to throw the goddess on the shoulders decorated with flowers covered. Immersed in thought, Venus stands, bowing his head and keeping the hair flowing along the body. A subtle spiritual face is full of that unearthly slaughterhouse. Lilac-blue raincoat of marshmallow, gentle pink flowers, lightning under the blow of winds, create a rich, unique color gamut. The artist beats the elusive overflows of feelings in the picture, it causes the whole nature - the sea, trees, winds and air - to restore the singers of the body and infectious rhythms of movements of their gold-haired goddess.

Egem is stormy, the cradle through Lono Fetis floated the medium of foamy water.

Creating a different skysclene, face with people incomprehensible, gets up

In a charming position, looking lively, in her the virgin young. Entails

Marshmallow in love with a sink to a run, and the heavens are happy with the run.

Said b: the sea is true here, and the sink with foam - like alive,

And can be seen - the shine of the eye of the goddess is pouring; Before her with a smile of the sky and poems.

There in the White Oh, the shore go, they are the wind Treplet's hair devastated.

How came out of the water, you could see, she, holding the right

Your Vlasus, another bias of the nipple, at the feet of her flowers and herbs

Covered fresh sand sand.

(From the poem Angelo Polyciano "Gosostra")

Beautiful Venus

Botticelli interprets the myth about the Terrible God of War Mars and his beloved - the goddess of beauty Venus - in the spirit of elegant idyll, which should like Lorenzo magnificent, to the ruler of Florence, and his surround.
Naked Mars, freed from his armor and weapons, sleeps, spreading on a pink raincoat and climbing the shell. Based on Aluu Pillow, lifting Venus, riding a look at his beloved. The Busta of Mirta closes the scene to the right and left, only small lumens of the sky are visible between the figures of small satriots playing Mars weapons. These goning creatures with sharp long ears and tiny horns will be frowning near lovers. One got into the shell, another one put on himself too much helmet, in which he drowned his head, and grabbed for a huge spear of Mars, helping to drag him to the third satir; The fourth put the Golden Witty Sink to the ear of Marsa, as if he had a dreaming of the dreams of love and memories of battles.
Venus owns a truly God of War, this is for her arms left, which became unnecessary Mars and turned into a cheerful fun for small satriots.
Venus here - a loving woman guarding the lover's sleep. The pose of the goddess is calm, and at the same time in her little pale face and too thin hands there is something fragile, and the look is filled with almost elusive sadness and sadness. Venus embodies not so much the joy of love as her alarm. Property Botticelli lyricity helped him create a poetic female image. An amazing grace blows from the movement of the goddess; She is headlong, stretching the barefoot, looking out from under transparent clothing. A white dress broken with gold sewing emphasizes the elegant proportions of a slender, elongated body and enhances the impression of purity and restraint the appearance of the Goddess of Love.
Mars's Pose testifies to anxiety that does not leave him even in a dream. The head is very thrown back. On an energetic face, the game of light and shadow distinguishes a semi-open mouth and a deep sharp fold crossing the forehead.
The picture was written on a wooden board with a size of 69 x 173.5 cm, perhaps she served as decoration of the back of the bed. It was performed in honor of the engagement of one of the representatives of the Vespucci family.

The picture is written during the highest heyday of the artist's diving. In a small picture, the Afas is depicted a young man in modest brown clothes and a red hat. For the Italian portstruction of the XV century, it was almost a revolution - until the moment of all who ordered their portrait, depicted in a profile or, from the second half of the century, in three quarters. A pleasant and open young face looks from the painting. The young men have big brown eyes, well-defined nose, chubby and soft lips. From under the red hats, framing face framing face is released.

The use of mixed techniques (the artist used both tempera and oil paints) made it possible to make contours softer, and black and white transitions are more rich in color.

Botticelli, like all the artists of the Renaissance, wrote Madonn many times with a baby, in various plots, poses. But they are all distinguished by special femininity, softness. With the tenderness of the student to the mother of the baby. It should be said that, in contrast to the Orthodox icons, in which the images are facilitated, as if emphasizing the disembodiedness of Our Lady, in the Western European paintings, Madonna looks alive, very earthly.

"Decameron" - from the Greek "Ten" and "Day". This is a book, consisting of the stories of a group of noble young men from Florence, who left, fleeing from the plague on the country villa. Located in the church, they are told ten days for ten days to entertain themselves in forced expulsion.
Sandro Botticelli commissioned from Antonio Pakka to the wedding of the son wrote a series of paintings by the story of the "Decameron" - "History of Nastajio Delia One."
The story tells how the rich and born young man Nastadijio fell in love with an even more breeding girl, unfortunately endowed with a foul character and exorbitant pride. To forget the pride, he leaves his native equal to and leaves the place of Chiassi located nearby. Once, walking with a friend in the forest, he heard loud screams and female crying. And then I saw with horror, as a beautiful nude girl runs in the forest, and behind her rider rides on a horse with a sword in his hand, who threatened the girl with death, and the dogs tear the girl from two sides ...

Nastajio frightened, but, spoke to the girl, overcame the fear and rushed to help her and, grabbing the branch from the tree in his hands, went to the rider. The rider shouted: "Do not bother me, Nastajio! Let me fulfill what this woman deserves!" And he told that once, a long time ago, he loved this girl very much, but she causing him a lot of grief, so he killed himself from her cruelty and arrogance. But she did not repent, but soon and herself died. And then those who are over, they put such punishment on them: he constantly catchies it, kills, and takes her heart, throwing him into dogs. After a little time, she crawls, as if nothing had happened and the chase begins again. And so every day, at the same time. Today, on Friday, at this hour, he always catchies it here, on other days - in another place.

He thought of Nastajio and realized how to teach his beloved. He called all his relatives and friends in this forest, at this hour, next Friday, ordered to arrange and cover the rich tables. When the guests rummaged, he planted his beloved pride face right where the unfortunate couple should seem. And they soon rang out, crying and everything happened ... The rider was told by all, as Nastadjio told the rider. Guests in amazement and horror looked at the execution. And the girl Nastajio wondered and realized that the same punishment could wait for her. The fear suddenly suddenly love for the young man.
Shortly after a brutal representation, arranged by Nastajio, the girl sent an attorney with consent to the wedding. And they lived happily, in love and harmony.

Composition two-imaginary. Annunciation is the most fantastic plot of all evangelical plots. "Annunciation" - the benefit of the news - unexpected and fabulous for Mary, like the very appearance of the winged angel in front of it. It seems, even a moment, and Maria will collapse to the legs of the Archangel Gabriel, ready to cry. The drawing of figures depicts a rapid voltage. All that happens is the nature of concern, gloomy despair. The picture was created in the last period of Botticelli's creativity, when his native city Florence fell into disfavor to the monks, when the whole of Italy was threatened with death - all this was putting a gloomy shade on the picture.

Through the mythological plot, Botticelli transfers the essence of the moral qualities of people in this picture.
Tsar Midas is sitting on the throne, in his donkey ears they have a dirty conspiracle two insidious figures - ignorance and suspicion. Midas listens, closing his eyes, and before him there is an ugly man in black - this is anger, which always leads the actions of Midasa. Nearby slander - a beautiful young girl with clear innocence. And near her - two beautiful unchanged satellites slander - envy and lies. They wove in the girl's hair flowers and tapes so that the slander is always favorable to them. An angry pulls to Midasa slander, which was the favorite of the king. She herself pulls the sacrifice - a semi-nailed unfortunate young man. Easy to understand what the court will be.
On the left alone, there are two more unnecessary figures here - repentance - the old woman in the dark "funeral" clothes and truth is nude, and everything knows. She drew the god to God and shifted up her hand.

Magi is the wise men who, having heard the good news of the birth of the Baby of Christ, hurried to the Mother of God and her great son with gifts and wishes of good and multiplies. All the space is filled with wise men - in rich clothes, with gifts, - they all crave to witness a great event - the birth of the future of the Savior of mankind.
Here on the knees before the Magnifier, a sage bent and with awe kisses the edge of the Clothing of Little Jesus.

Before us, Juliano Medici - the younger brother of the ruler of Florence - Lorenzo magnificent. It was high, stored, beautiful, deft and strong. He passionately fond of hunting, fishing, horses, loved to play chess. Of course, he could not overshadow his brother in politics, diplomacy or poetry. But Juliano loved Lorenzo very much. The family dreamed to make Cardinal from Juliano, but it was not possible to carry out this intention.
Juliano led the lifestyle corresponding to the demand of the time and the provision of the Medici. Florentines have long remembered his outfit from silver brocade, decorated with rubies and pearls, when he made sixteen-year-old young men on one of these holidays.
The most beautiful girls of Florence fell in love with him, however, Juliano was accompanied by only one - Simonetti Vespucci. Although the girl was married, it did not prevent her to meet the reciprocity of charming Juliano. Love Giuliano to Simonette was singing in the Polyciano poem, and early death turned their relationship into a romantic legend.
Like Simonette, Juliano went away early. But not from the disease, but was killed during the attack on Florence adherents of Pope - Family Pazzi. Directly in the cathedral, in the crowd, during the passage of the service, the insidious killers attacked the patriots of Florence, creating a shit. Of course, they wanted to kill Lorenzo primarily, but he managed to escape, but Juliano was not lucky, he was killed by an evil, insidious hand.
In the portrait, the artist created the spiritual image of Juliano Medici, marked by sadness and doom. The head of a young man with dark hair is turned into a profile and stands out on the background of the window. The young men's face is significant and beautiful: high blank forehead, thin nose with a hubber, sensual mouth, massive chin. The eyes are covered with a heavy half-breeding age, in the shade of which barely shimmers. The artist emphasizes the pallor of his face, the bitter pleate of the lips, a lightweight wrinkle, crossing the nose, is strengthening the impression of the buried sadness. Piercing the appearance of Juliano. The simplicity of color gamut consisting of red, brown and gray-blue corresponds to the total discrepancy of the composition and the image itself.

Sandro Botticelli Born in 1445 in Florence. In the family of four sons, he was the youngest. In its specialty, Mariano was a horsemen. He along with his family lived in the Santa Maria Novella quarter on Via Nova. In the house that Rchelllai belonged, he shot an apartment. Being a master of the workshop near the Santa Bridge Trinit In Olmatrno, he was not secured, as it was not particularly profitable. In the dreams of Elderly Filino, I wanted to identify sons as soon as possible so that you could leave such a heavy craft.

Sandro Botticelli is a pseudonym of the artist, his real name Alessandro Filipepi. And for friends he was just Sandro. And today there is no unambiguous answer to the question of the origin of the nickname " Botticelli" There is a version that this education is from a nickname given to the eldest brother for the upbringing of the younger sons to at least somehow help the father. Or perhaps, the nickname was born in connection with the craft of his second brother Antonio.

Be that as it may, jewelry art, a demon of the doubt affects the formation of Botticelli in his youth, because it was the brother Antonio brother. Alessandro was sent by the Father to the Jeweler Botticelli. Being a capable and gifted student, he was disturbed.

In about 1464, Sandro decided on the workshop Fir Philippo Lippi from the monastery of the carmine. At that time he was considered magnificent painter. At 20 (1467), Sandro left the workshop. He was completely absorbed in painting and in everything he imitated his teacher, for which he loved the young man and raised his picturesque skills to unprecedented heights.

At least the first work and completely copied the maneer of Fra Filippo Lippey.The unusual atmosphere of spirituality has already been glanced in them, with the poetry of images.
In 1467, the teacher Sandro moved to Spoleto, where his death soon and fell. The Botticelli stretching faces the search for a new source of artistic achievements.

Christmas / Botticelli

Christmas

For some period he dedicated to the workshop Andrea Verrocko, who was a versatile master, painter, sculptor and jeweler. He stood at the head of the brigade of a multifaceted talented beginner artists. Communication brought its fruits, thus appeared pictures " Madonna in Rosaria"(Approximately 1470, Florence, Uffizi), as well as" Madonna with a baby and two angels"(1468-1469), combining Lippi and Verrock's lessons. Probably, these works were the first to truly independent creations. Botticelli.

Period 1467-1470 The year described in the famous way Sandro, referred to Altar Sant-Ambrogo" In the cadastre of 1469, Mariano said that Sandro works at home from which it can be concluded that by that time Botticelli was already a completely independent artist. As for the fate of the rest of the sons, the eldest of them, being a broker, was a financial intermediary under the government. His nickname " Botticella"That translated" Barrel "migrated to his famous brother. Filipepi family had impressive incomes (were the owners of houses, land owners, shops and vineyards) and held a high position in society.

So in 1970 Botticelli opened the doors to his own workshop. And about July 18 and August 8, 1470, it was summed up by a job, which was brought by the master social recognition and popularity. The picture on which was depicted allegory of Powerwas addressed to the Trade Court. This institution was one of the most important and dealt with the consideration of the offenses of the integrated economic.

1472 was characterized by Sandro's entry into the union of artists - the Hilden Luke Guild, which made it possible to legalize the image of an independent style of the artist's life, acquire assistants in case of order not only paintings or fresok., and inlays, engravings, mosaics, models for "stands and other fabrics", stained glass windows, book illustrations. In the first year, being a member of the unification of artists Botticelli He was an official student of Philippino Lippi, who was the son of a former teacher Cleells.

Orders Sandro mainly flowed from Florence. So one of the most magnificent works - the picture " Saint Sebastian"It was executed for the oldest church of the city of Santa Maria Maggiore. And January 20, 1474 (on the feast of St. Sebastian Maggiore) Work, being the first confirmed work of Sandro, was festively posted on one of the columns of the Santa Mary's church, which steadily entrenched in the artistic panorama of Florence.

Also in 1474, after the completion of the work on this work, the master was invited to work in another city. The request of Pizantsev was in the mural of the frescoes in the cycle of Kamposanto's painting. Just during this period of time, close contact between Botticelli and the recognized rulers of Florence - members of the Medici family were reigned. This is confirmed by the work (which became a reflection of the artist's communication with his family Medici) « Worship of Magi. ", Ordered in the interval of 1475 and 1478 by Gaspare (or Giovanni), Dzanobi Lami (banker, close to the Medici family).

Worship of Magi / Botticelli

Worship of Magi.

Of particular interest, this picture causes a number of researchers, because it is for it that it can be found an image of an entire formation of important historical faces. Nevertheless, it is worth paying attention to a remarkable composite construction that speaks about the level of artist's skill for that period.

The peak of the cultivation of the development of an image of an image with an increase in psychological expressiveness falls on the interval between 1475 and 1482. The most famous pictures of Sandro (" Primaver "And" Birth of Venus "), Who were ordered by the Medici family, became the embodiment of the cultural atmosphere, characteristic of the media circle. Unanimously historians delivered dates of these works - 1477-1478. In this case, the existence of Venus means not the experiences of love in the concept of paganism, but symbolizes the humanistic ideal of love spiritual. When the soul consciously or sex is conscious, rushes upwards and clears everything in its movement.

Thus, the role of spring is shaded by a cosmologically spiritual character. Marshmallow, fertilizing, unites with Flora, thus giving rise to the placement, spring as a symbol of the animation forces of nature. Amur with tied eyes is located above Venus (center of the composition), the withdrawal from Humanitas (the constellation of the spiritual properties of a person who personify the three graces), Mercury, looking upwards, dispels the clouds with his caduce.
Botticelli treats a myth that carries a special atmosphere of expressiveness: the scenes of idylls are rushed against the background of orange trees, which are densely mad branches, subject to a single harmonic rhythm. This is achieved with linear outlines of figures, drapes, dance movements, which gradually subside in the contemplative gesture of Mercury. Figures are associated with a choler due to a clear manner of the image against the background of deaf foliage.

The characteristic filling of the works of Sandro is the idea of \u200b\u200bHumanitas, which means the plexus of human spiritual properties, in most cases it is embodied in the image of Venus or sometimes Pallad-Minerva. Or otherwise interpreted - this idea of \u200b\u200bimpeccable beauty carrying the intellectual and spiritual potential of a person, the beauty is external as a reflection of inner beauty, as well as a grappling of universal harmony, a microcosm in the macrocosm.

Judging on the basis of the number of students and assistants who were registered in the cadastral, then in 1480 the workshop Botticelli It was widely recognized. This year was noted by writing Sandro "St. Augustine", located on the altar barrier in the church of all saints (Ontisanti). This order was performed for Vespucci - a respected family of the city, which was close to Medici.

Apocryphic texts were widespread, which led to the worship of both saints in the XV century. Sandro Botticelli worked, not to give up the hands to be able to become the best among all the painters of that time, making the emphasis on Domenico Girlandian, who fulfilled the image of Saint Jerome. This creativity was performed flawlessly, the depth, subtlety and sharpness of thought were expressed on the face of the saint, so characteristic of sages.

Lorenzo Medici In political views, it sought to reconcile with the dad and contributed to an increase in the cultural relations of Florence. In this way Botticelli, Pietro Perugino, Kozimo Rosseli. and Domenico Girlandiao - October 27, 1480 were sent to Rome for painting the wall of the new "Great Capella" of the Vatican, which was rapidly erected by order of Pope Siksta IV (which is why it was called its name Sicstinskaya). By order of Sicsta IV Botticelli He was appointed mainly on the performance of work, the Masters' frescoes are currently considered more valuable compared to the works of other artists. The finished frescoes were installed in the fall of 1482 for the place allowed for them in the chapel near the opening cycle of Signorelli and Bartolomeo della Gatta. Botticelli and the rest of the masters returned to Florence, in which he soon experienced his father's loss.

During its greatest creative activity, Sandro had a close relationship with the yard Lorenzo MediciWhat was spent writing the majority of the most famous works of the master in the 70s and 190s on the request of the members of this family. The inspiration of the rest of the works was true of the poems of polyciano or was subject to the influence of literary disputes, emerging from humanists' scientists, as well as the buddies Lorenzo magnificent.

If we talk about portraits, performed by Botticelli, then undoubtedly, they do not take such a high stage in the gallery of the images that are included in its composition. Probably, this type of work was given to the artist less due to its constant need to move and perfection of the rhythm, which the portrait of the chest (characteristic for the XV century) could not give.
Of course, it is impossible to go around the elevated nature of the realism of Sandro. At least it can be traced potentially in his male portraits. They can especially be noted as a masterpiece only " Lorenzano"- the plexus of extraordinary vitality and a portrait of a young man expressing outstanding expression of the interpretation of the wording of love.

Slander / Botticelli

Slander

When Botticelli Returned to Rome, he wrote a cycle of large works on the topic of religions containing several tonsido, in which the sensitivity of the artist's emotions was able to fully express in the form of forms on the plane. The purpose of Tudo was a decorative function - to decorate the apartments of the Florentine nobility or as collectible works of art.

TDO " Worship of Magi."That was known to us first, has a date of the seventies. Presumably it performed the role of the table covers in the house of Puchchi. This reference point is this, let another work, in which distorted perspectives are justified with the horizontal arrangement of the picture. In it, Botticelli rolls out a "sophistic", anxious and sober approach.

As an example, work is: " Madonna Magnitiate"(1485) and" Madonna with grenade"(1487 year). The first product, with the help of a special bend of curves of lines, as well as collective circular rhythm creates the illusion of the pattern created on the convex surface. The second work is intended for the court sessions of the Court of Palazzo Signoria, is characterized by the use of reverse administration, which shape the effect of a concave surface.

Other mood is created in the impressive work of Sandro " Wedding of Our Lady", Dated 1490 year. So, if 1484-1489 was marked by the satisfaction of Botticelli with their works and by himself, then Wedding"Carries a completely different promise - the excitedness of the feelings, unknown alarms and hopes. Angels are transmitted with great excitement, and the abandoned Saint Jerome is full of confidence and dignity.

At the same time, in this paper, there is a dedusion from perfection in proportions (perhaps as a result, the work has not been so successful), the magnificent tension is increasing, which is characterized only for the inner world of heroes, there is an increase in color sharpness, which is becoming more and more independent.
Botticelli It sought to know a greater degree of drama, which is typical of such works as " Abandoned" The plot of this work was, undoubtedly, leaves the roots in the Bible - Famar, who was expelled by Ammon. But this unit historical fact of transformed into an artistic embodiment becomes sufficient to acquire eternal status: here and the fragile feelings of the woman, and the sympathy of its loneliness and even the dull barrier as a closed gate, as well as a dense wall, which symbolizes the walls of the medieval castle.

Spring / Botticelli

Spring

In 1493, Florence is stunned by the death of Lorenzo magnificent. And in the family of Botticelli there are even more significant events important events - the brother Giovanni is dying, which is buried next to his father in the cemetery. Simone (another brother) comes from Naples, together with whom the master buys the "Lord's House" in San Sepolkro and Bellozguardo.

The last works of Sandro breathe with the strengthening of the religious moral location of the Spirit. Botticelli has always been treated with religion and morality with all seriousness, it was visible in turning the uncomplicated and traditional pepping entry into mystical contemplation " Madonna Eucharist».

This is often in the life of the amateur: only opened America, he began to rejoice and be proud, and then Batz - it turns out that she was discovered long before you! Well, about everything in order.

Each city has a place compulsory for visiting. In Paris, this is of course Louvre, in Rome - Kollise, in St. Petersburg - Hermitage, and in Florence - the Uffizi Gallery.

Of course, in Florence there is a lot of things and except the gallery to see, one David worth it!

This, as you guessed, not a real David, but a real here he

The fact that the Uffizi Gallery is a mandatory point of any tourist route in Florence, creates certain difficulties for entering it. Our recommendation: order tickets in advance via the Internet herehttp://www.florence-museum.com/booking-tickets.php. . The printed reservation must be exchanged for the Tickets in the gallery office opposite the main entrance. Well, and then you need to defend the tiny queue of the same advanced tourists as you (compared to a huge neighboring queue are not advanced).

Finally, you are inside. Trying to get around the entire gallery at a time can not every normal person, so it is necessary to watch the same thing! For us, the "most" belt of the great painter of the Epoch of the FlorentineRenaissanceSandro Botticelli.

His real name Alessandro di Mariano di Banny Filipei. Botticelli or in the rough translation of "from the kind of barrels" is rather a nickname that "inherited" the worst Sandro after his older brother is a fat man and truly real "barrels" (such a special Florentine logic).

A few halls are devoted to the gallery of the Uffizi. "Birth of Venus", "Spring", portraits of Dante and Juliano Medici - these works of Botticelli are known to almost from school.

But one thing is reproduction in the textbook, and here originals, here they are, at a distance of an elongated hand. Impression unforgettable! Looking at the paintings, I come to a completely unexpected conclusion that all the "main women's roles" on most of the Botticelli cannishes presented in the gallery are given by the same "actress"! Looks like most of his paintings really depicts the same woman! The wife comes to the same conclusion. Can not be? Judge for yourself

As we found out later, the secret of the stranger on the paintings of Botticelli was opened back in the XVI century by the Italian painter George Vazari.

Vazari lived in Florence almost thirty years after the death of Botticelli. As an artist Vazari did not succeed, although at one time was a student of Michelangelo himself. But he became actually the founder of modern art historical, writing the main work of his life - the meeting 178biographies of artists Italy Renaissance " Signatures of the most famous painters, scales and architects». It was in this work, published in 1568, George Vazari put forward a hypothesis regarding the name of the woman, who Sandro Botticelli challenged almost all of his works. According to Vazari, this woman is Simoneetta Vespucci, the first beauty of Florence of the second half of the XV century.

Contemporaries considered her beauty to the divine gift, the embodiment of the perfect design and for her beauty, the girl received a nickname of incomparable and beautiful Simonetta.

In April 146916-year-old Simonette was crowned with his peer Marco Vespucci, a distant relative in the future of the famous Florentine navigatorAmerigo Vespuccch and, The name of which will be called an open Columbus new continent (one more example of a kind of logic). I did not find a portrait of Marco Vespucci, and Avego is he

Of course, Vespucci Simoneette was not available for Botticelli:

- But that she is before me - she was in Paris,

- She himself, Marcel Marso, said something!

After all, he is simple, albeit a fashionable painter, but she - the spouse of one of the bankers of the ruling family of Medici, that whose location was achieving all Florentine noble men, including the ruler of the city of Lorenzo magnificent (here is his bust from the collection of the Uffizi Gallery)

and also his younger brother Juliano (here is his portrait of the work of Botticelli):

With all this, Sandro, if desired, could admire Simonetta Vespucci every day - their home adjacent to Palazzo Vespucci. Did Simonette know about the existence of Sandro? If I knew, it was most likely unlikely to give this knowledge of any meaning. But for Botticelli she was an ideal woman. This is confirmed by at least the fact that both "Birth of Venus", and "Spring", and Venus and Mars, as well as the "Portrait of a young woman" are written by the artist after the death of Simonetta, supremely died on April 26, 1476 at the age of 23 In the height of the tuberculosis epidemic broken down in Florence. Thus, Botticelli again and once again returns to the image of Simonetta even 9 years after her death. Although to her image? After all, the lifetime photos of Simonetta for known reasons are absent, but not clearly attributed portraits. Most likely, Sandro painted some, according to the poet Mikhail Kuzmina, "On the eternal century, a symbol of heavenly youth", embodied for him in Simonette.

Sandro Bothichelli was never married, having lived a big life, died at the age of 65 and, in accordance with his will, was buried in Florence in the Chiesa di Ognissanti), in which Simoneette Vesprichi was also buried. We found this church, the truth is already before its closure.

The mini tour of the church spent the blacks for us (!) Monk Franciscan.

Here is such a love story.

But on the last, I would like to tell another no less romantic, but also also an instructive story about love.

In the picture of Botticelli "Birth of Venus" in the upper left corner, we can notice such a strange couple: a soaring young man with inflated cheeks and a girl who wrapped his cavalier not only with his hands, but also legs!

This young man is marshmallow, the God of the Western Spring Wind, in the picture he drives the sink with just born Venus to the shore. And the girl is the legitimate wife of Zephyr, the Greek goddess of Chloride flowers, which the Romans called Flora.

Chloride at the beginning avoided the persistent courtships of Zephyr and ignored it in every way. Here it runs away from the in love of Marshmallow in the right corner in the picture of Botichelli "Spring".

In the end, Zephyr's took possession of such a wild passion that he, having broken the Olympic record for catching up girls, overtakes chloride and took possession of her. About how! The result was that in the girl there was no less, and a stronger, such wilderfeit, a retaliatory passion for the marshmallow, that she snapped to him with all his body and had never parted with him, he had never parted with him, firmly wrapped her husband with all her existing limbs .

And since then, the marshmallow is always with his wife chloride-flora. And in the afternoon, and at night, both on vacation, and at work, and at a concert, and on a banquet, both on football, and in a bath at a meeting with classmates!

As they say, for which they fought, on the out of place! So learn the story!