Artist Botticelli paintings. The most famous pictures of Botticelli

"In the time of Lorenzo, Medici of the older, the magnificent, who became truly the golden age for any gifted man, reached the heyday and Alessandro, between us named Sandro on Botticello," so George Vazari opens the biography of Sandro Botticelli (1568). As can be seen from these words, Botticelli was one of the most bright shapes blessed for all artists of the era associated with the name Lorenzo magnificent.

The real name of the artist is Alessandro Filipei (for friends of Sandro). He was the youngest of the four sons of Mariano Filipei and his wife Zmelda and was born in Florence in 1445. With the specialty Mariano was a tannery and lived with his family in the quarter of Santa Maria Novella on Via Nova, where he filmed an apartment in a house owned by Rchellia. He had his own workshop near the bridge of Santa Trinit in Olitrno, it brought a very modest income, and the old Filipei dreamed of embroil the sons and have, finally, the ability to leave a time consuming craft.

The first mentions about Alessandro, as well as about other Florentine artists, we find in the so-called "Portate Al Catasto", that is, the cadastre, which made applications for income for taxing which, in accordance with the Decree of the Republic of 1427, was obliged to do the head of each Florentine families. So in 1458, Mariano Filipei indicated that he had four Sons Giovanni, Antonio, Simon and Thirteen Sandro and added that Sandro "learns to read, the boy is painful."

There is still doubt the origin of the nickname Sandro - "Botticelli": it is possible, it is formed from the nickname of the elder brother, who, wanting to help the aging father, apparently, was engaged in the raising of the younger child; Or perhaps, the nickname arose on the consonance with the Crafts of the Second Brother, Antonio. However, no matter how the given document was interpreted, the jewelry art played an important role in the formation of young Botticelli, for the same brother Antonio directed him in this direction. To the jeweler ("Some Botticello", as Vazari writes, a person, whose person has not been established to this day), sent Alessandro Father, tired of his "extravagant mind", gifted and capable of teaching, but restless and still not found true calling; Perhaps Mariano wanted the younger son to follow in the footsteps of Antonio, who worked as a jeweler at least since 1457, which would have laid the beginning of a not a big but reliable family enterprise.

According to Vazari, between jewelers and painters, at that time, there was such a close relationship that it was worthwhile to get direct access to the craft of others, and Sandro, a pretty joined in the picture - art necessary for accurate and sure "blacks", soon became interested in painting And decided to devote himself to her, without forgetting the most valuable lessons of jewelry art, in particular the clarity in the drawing of contour lines and skillful use of gold, in the future, often used by the artist as an admixture of paints or pure for the background.

Around 1464, Sandro entered the workshop Fir Philippo Lippi from the monastery of the carmine, the excellent then painter, which he left in 1467 aged twenty-two years.

Having left the entire painting, he became a follower of his teacher and imagined him so that Fir Philippo loved him and his studies soon raised him to such an extent that no one could think about.

The Lippi workshop was then in Prato, where the master worked until 1466 over the frescoes of the cathedral (however, it was not possible to reliably identify the hand in these paintings). In 1465, Philippe wrote "Madonna with a baby and angels", now stored in the Uffizi; She became a continuous sample in composition and style for some early works of Botticelli, namely, "Madonna with a baby and angel" (Gallery of the Educational House, Florence) and "Madonna on Loggia" (Uffizi). Already early work Sandro is distinguished by a special, almost elusive atmosphere of spirituality, a peculiar poetic sheepiness of images.

Youthful "Madonna with a baby and angel" (1465-1467, Florence, Gallery of the Educational House), was performed by Botticelli shortly after Filippo Lippi's painting on a similar plot ("Madonna and Baby", 1465, Florence, Uffizi) It is not difficult to see exactly Botticelli Plays the composition "Madonna" of the teacher Fra Philippe. Fir Philipp - "Master Exceptional and Rare Talent" (Vazari) was a monastery-carmelite, and from his novel with the nuns of the monastery of Prato Lucretz Bethi was born to the light of Philippino Lippi, who later became a student of Botticelli.

In 1467, Fir Filippo went to Spoleto, where he was soon and Botticelli, still wanting to squeeze his thirst for knowledge, began to search for the highest artistic achievements of the era of another source. For a while, he visited Andrea Verrocko's workshop, a multifaceted master, sculptor, painter and a jeweler, who led the brigade versatile gifted beginner artists; Here, at that time, the atmosphere of the "advanced" creative search reigned, it was not by chance that the Verrocko studied young Leonardo. From fruitful communication in these circles, such pictures were born as "Madonna in Rosary" (approx. 1470, Florence, Uffizi) and "Madonna with a baby and two angels" (1468-1469, Naples, Capodimont Museum), where the optimal synthesis of lessons was found Lippie and Verrocko. Perhaps these works were the first fruits of the independent activities of Botticelli.

By the period from 1467 to 1470 - the first renovated image of Sandro, the so-called "Altar Sant-Ambrodzho" (now in the Uffizi), found in the nameless Florentine Church, but actually had a different purpose: perhaps it was completed for the main The altar of the Church of San Francesco in Montevarka - this hypothesis, among other things, confirms the presence of Saint Francis to the left of Our Lady. In addition, in the picture, in addition to Magdalene, John the Baptist and St. Catherine Alexandrian depicts the cranked goat and Damian - Holy Martyrs, who were considered by the patrons of the House of Medici and often portrayed in the pictures ordered by the Medici themselves or some of their environments.

It can be concluded that already in 1469 Botticelli - an independent artist, for in the cadastre of the same year, Mariano said that his son was working at home. The activities of four sons (the eldest of them, Giovanni, became a broker and fulfilled the role of a financial intermediary under the government, and his nickname "Botticella" - "Barrel" - passed to a more famous brother) brought Filinoi family significant income and position in society. Filipei owned houses, land, vineyards and shops.

Already in 1970, Sandro opened his own workshop and somewhere between July 18 and on August 8, 1470 finished the work that brought him wide public recognition. The picture with the image of the allegory of force was intended for the merchant court - one of the most important urban institutions engaged in the consideration of the offenses of an economic nature.

The Botticellian picture was supposed to enter the cycle of "virtues", designed to decorate the judicial chairs in the meeting room, located in Signoria Square. Strictly speaking, the whole cycle was ordered in 1469 Pierrot Del Pollyolo, and among the applicants for such a prestigious order was even Verrocko. Botticelli managed to get an order most likely because of some delay with its fulfillment by Pollaiolo and, of course, thanks to the support of the influential policy of Tommaso Soletian. Thus, Botticelli had an opportunity to come close to the Florentine circles associated with the Medici, where it was also probably introduced by Verriko.

In 1472, he signed up in the Holy Luke Guild (uniting artists). It gives him the opportunity to legally lead to the lifestyle of an independent artist, open the workshop and surround himself with assistants, in order to rely on someone if he becomes ordered not only paintings on a tree or frescoes, but also pictures and models for "standards and others fabrics "(vazari), inlays, stained glass and mosaics, as well as book illustrations and engravings. One of the official students of Botticelli of the first year of his membership in the unification of the artists was Philippino Lippi, the son of a former master teacher.

Botticelli orders received mainly in Florence, one of the most remarkable his pictures "Saint Sebastian" (Berlin, state museums) was performed for the oldest church of the city of Santa Maria Maggiore. On January 20, 1474, on the occasion of the feast of St. Sebastian Maggiore, the picture was solemnly placed on one of the columns of the Church of Santa Maria. This is the first documentary confirmed religious work of the artist, from now on firmly approved in the art panorama of Florence.

In the same 1474, when this work was completed, the artist was invited to work in another city. The Pisans asked him to write frescoes in the cycle of Kamposanto's painting, and as sampler his skills ordered him the altar image of the death of Mary, who was not completed by Botticelli, as well as the frescoes themselves were not fulfilled.

It was during this period that there was a close contact between the painter and members of the Medici family, recognized by the rulers of Florence. For Brother Lorenzo Medici, Juliano, he painted a banner for the famous 1475 tournament on Piazza Santa Croce. Shortly before the death of the younger Medici or immediately after it, Botticelli, possibly with the help of students, wrote several portraits of Juliano (Washington, National Art Gallery; Berlin, State Museums; Milan, Crescent Meetings), who, together with a memorial medal, minorized Bertoldo (Florence, Bargello Museum), for the century they retained the features of the deceased. Juliano was killed in 1478 during a conspiracy of the family of Pazzi against the Medici sent by Pope Sequust IV. The figures of conspirators, both hanged, and still hiding from justice, Sandro wrote on the facade of Palazzo della Signoria from the port of Dei Dogan (Customs Gate). By the way, Andrea Del Kastano was given a similar order in 1440, who was supposed to submit members of the Albice family who had a conspiracy against Medici, and after his defeat of the sentences were forever designed on the walls of Palazzo del Perez.

The work reflecting the direct links between the painter and the Medici family, the "worship of the Magi" (now in the Gallery of the Uffusion) was ordered between 1475 and 1478 Giovanni (or Gaspare) yes Dzanobi Lami - a banker close to the Medici family, and was intended for his family altar In the Church of Santa Maria Novella. For many researchers, the special attractiveness of this painting is that here you can find an image of a number of historical faces. However, this quality should not distract attention from its wonderful composite construction, testifying to the artist's high level of skills achieved by that time.

In the interval between 1475 and 1482, with the enhancement of psychological expressiveness, the realism of the image reaches its maximum development.

The paths of this development are clearly traced when comparing two paintings on the theme "Waughs worship", one of which (from 1477) is in the Uffizi in Florence, and the other (from 1481-1482) is in the National Gallery in Washington. In the first obvious desire for realism; It affects not only in the abundance of portraits of contemporaries Botticelli - with all their magnificence, they participate in the designated stage very relatively, only as side motives - but also in the fact that the composition is built more in depth, rather than on the plane: in the location of the figures is known known Artificial, especially in the scene on the right. Each image is a miracle of grace and nobility, but everything is generally too limited and compressed in space; There is no physical movement, and with it and spiritual impulse.

In the second picture, perhaps, too, there are portraits - but who knows it? There are no statists here: each character, as in the first picture, filled with beauty and nobility, worships Jesus in his own way. The space is still given to the depth, but this time it is not closed, opens towards the sky, and the partial overlay of the figures is compensated for by their distribution on the plane. The unity of perception is achieved by the location of the figures, just as the unity of the mood is implemented in the idea of \u200b\u200bworship. Now you can already understand what the "Composition Details" is. This is the known arrangement of the figures, on the plane, then convertible, then, on the contrary, are lighted in such a way that its rhythm is not associated with a totality, but with a sequence, not with mass, but with a line.

The two most famous pictures of Botticelli, the so-called "Primaver" ("Spring") and the "Birth of Venus" ordered Medici and embody the cultural atmosphere that arose in a physical circle. Art historians unanimously dating these works 1477-1478. Pictures are written for Giovanni and Lorenzo di Pierrechic - Sons of Brother Piero "Gouting". Later, after the death of Lorenzo magnificent, this branch of the Medici family was in opposition to the power of his son Pierro, for which he had gained the nickname "Dei Popolani" (Popolanskaya). Lorenzo di Pierfrance was a student Martilio Fechino. For his villa in Castello, he ordered a fresco artist, and these two paintings were also intended for her. Neoplatonic context is essential to understand their meaning. The largest representative of the Florentine philosophy of the XV century, Martilyo Ficino followed Platon, recycling platonism and the mystical ideas of late antiquity and leading them to consent to Christian teachings. In art historical studies, the content of these paintings is interpreted in various ways, including it binds to classical poetry, in particular, with Rows of Horace and Ovid. But along with this, in the plan of Bottichellevsky compositions, the ideas of Ficino were to be reflected, who found their poetic embodiment from the polyciano.

The presence of Venus symbolizes here is not sensual love in her pagan understanding, but acts as a humanistic ideal of love spiritual, "of that conscious or semi-aware aspiration of the soul, which clears everything in its movement" (Sketel). Consequently, the images of spring are cosmologically spiritual. The fertilizing marshmallow is connected to Flora, giving rise to the primary, the spring is a symbol of the lifeful forces of nature. Venus in the center of the composition (over her Amur with tied eyes) - is identified with Humanitas - a complex of spiritual properties of a person whose manifestations personifies three graces; Awarded a view of Mercury with a cloud cadouch.

In the Bottichellovsky interpretation, the myth acquires a special expressiveness, the idyllic scene arises against the background of thick woven branches of orange trees, following a single harmonic rhythm, which is created by linear outlines of the drapes, figures, dance movement, gradually subsided in the contemplative gesture of Mercury. The figures are clearly evaporated against the background of dark foliage, reminding the sleeper.

The idea of \u200b\u200bHumanitas (the set of spiritual properties of a person, personifies most often in the image of Venus or sometimes Paldala Minerva), or the idea of \u200b\u200bthe highest, ideal beauty, which enters into itself the whole intellectual and spiritual potential of a person - that is, the beauty of the external, which is Mirror internal beauty and part of universal harmony, microcosm in the macros.

By his plan "Birth of Venus", close "spring"; It is interpreted by the preceding position of the Neoplatonic Myth: the act of incarnation of Humanitas nature. Connecting with matter, the lifelike spirit inhales life in it, and the ORA (time of year), symbolizing the historical moment of improving humanity, stretches the goddess of a modesty raincoat, gives her generosity in endowing people with their virtues. It seems that such a picture is reflected in the lines of the poem of the polyciano "stons to the tournament".

Girl of Divine Beauty

Pegs, standing on the sink,

Intensity to the banks of voltic marshmallows

And heaven admire this (spectacle).

The delicate dawn tones are used by the artist rather in the carnation of figures than in the interpretation of the surrounding spatial medium, they are also attached to light robes, lively with the finest pattern of cornflowers and daisies. The optimism of the humanistic myth is organically combined here with light melancholy characteristic of the art of Botticelli. But after the creation of these paintings, the contradictions gradually deepening in the culture and visual art of the Renaissance, touched the artist. The first signs of this are becoming noticeable in his work in the early 1480s.

Judging by the number of his students and assistants registered in the cadastre, in 1480, Botticelli's workshop enjoyed broad recognition. This year he wrote "Holy Augustine" on the altar barrier in the church of Otisanti (all saints) for Vespucci, one of the most famous families of the city, close to Medici. Both saints became particularly revered in the XV century due to the spread of a large number of apocryphic texts. Botticelli was a lot of worried, trying to surpass all the painters of his time, but in particular Domenico Gilladayo, who performed the image of St. Jerome. This work turned out to be worthy of the highest praise, for on the face of this saint he expressed that depth, sharpness and subtlety of thought, which is peculiar to persons performed by wisdom.

Not far from the house of Botticelli was the hospital of San Martino affairs La Rock, where in 1481 the artist wrote on the wall of the loggia "Annunciation" (Florence, Uffizi). Since the hospital came to the hospital primarily infected with Chuma, the painting was probably ordered by Botticelli on the occasion of the end of the victim of the epidemic.

Thanks to the politics of Lorenzo, Medici, who sought to reconcile with the Pope and the expansion of cultural relations of Florence, Botticelli, together with Kozimo Rosselly, Domenico Girlandiao and Pietro Perugino on October 27, 1480, headed to Rome to paint the walls of the new "Great Chapel" of the Vatican, just erected by the orders of Pope Syksta IV and therefore called Sicstinskaya.

Sikst ordered to put Botticelli at the head of all work, and contemporaries appreciated the frescoes of the master above the works of other artists.

Botticelli belong to at least eleven figures of Roman dads from the top row of paintings, as well as three scenes of the main cycle that reproduces the episodes from the life of Moses and Christ: "Youth Moses", "The Temptation of Christ" (on the contrary) and "punishment of the rebel Levites ". Biblical scenes are depicted against the background of luxurious landscapes, somewhere and the case of the buildings of an ancient Rome arise (for example, the Arch Constantine in the last episode), and the details meaning the tribute to the customer - Dad Siksta IV from the genus Della Rover: his heraldic symbol - Oak and a combination of yellow with blue - the colors of the coat of arms of the arms of the coat of arms, used in Aaron's robe in the last picture.

In the fall of 1482, when the finished frescoes took their place in a chapel next to the work of the Signorelli and Bartolomeo della Gatta, Botticelli, along with the rest, returned to Florence, where the father's loss soon survived. Mariano Filipei died on February 20 and was buried in the cemetery of Ontisanti.

During the greatest creative productivity of Botticelli, Lorenzo Medici was quite closely connected with the "courtyard" of Lorenzo, and many of the most famous works of the artist of the 70s and 1980s were written by him by order of members of this family; Others were inspired by verses of polyciano or detect the influence of literary disputes of humanists scientists, Lorenzo's friends magnificent (1449-1492), which he collected under his yard. The educated person, sober and cruel politician, Lorenzo was a poet, a philosopher who was in nature, as in God. The largest patrons of his time, he turned his yard into the center of the Renaissance Artistic Culture.

On October 5, 1482, Signoria instructed Sandro along with such experienced painters as Girondayo, Perugino and Piero Pollaiolo, to fulfill the frescoes in the hall of the lilies in Palazzo Dei priori (now wears the name of Palazzo Vecchio). However, Sandro did not accept the participation in this work and next year, together with the students on four boards, wrote to decorating a wedding darker the story of Nastajo Deli on one of the novel "Decameron" Boccaccio. In the same 1483, Lorenzo magnificently ordered Botticelli, Perugino, Philippino Lippi and Domenico Girlandayo Cycle of wall paintings on his villa in Scedenetto near Volterra. Another public order - the artist received it in 1487 from representatives of the Tax Office (Magistratura Dei Massai Di Camera) - was a TDO, made for the audience hall in Palazzo della Signoria. Researchers identify it with the picture "Madonna with a grenade".

The picture "Pallada and Centaur" (about 1488) was written for Giovanni Pierrefrant Medici and was located at the Castello villa along with the "spring" and "birth of Venus."

Instead of Athena Pallad (Minerva), the warrior, which since the distant antiquity it was customary to portray with a helmet, shell and a shield, with a jellyfish gorut, Botticelli depicted "Minerva-Pacific", attributes of which - Spear (at Botticelli Alabard) and plum branch (in The painting is olive branches and wreaths) - symbolize virtue. Depicting a centaur, the artist enjoyed a specific antique prototype - a figure of sarcophagus stored in the Vatican Museum. At the same time, the picture is deeply distinguished by the ancient monuments that the artist depicted is not a physical battle of Minerva and Centaurus - "Centauromekhi", but "psychomakhi". There are a number of allegorical interpretations of this work. It was seen by the victory of Lorenzo magnificent over Naples, the victory of the Medici over the Pazzi, the connection of passions and wisdom in Lorenzo. There is also a wider interpretation as victory of wisdom over passions, which was discussed in the mug of Medici. An understanding of the painting as in general the victory of the world's forces over the power of destruction is. In this case, its maintenance is closely the content of the picture "Venus and Mars".

Venus becomes the main acting face in the picture "Venus and Mars" (London, the National Gallery), apparently intended for the decoration of the Vespucci House, as an oxian nest is depicted in the upper right corner - a heraldic symbol of the genus. Sandro has long been associated with the Vespucci family: to decorate Giovanni's room in the house on the street service, bought in 1498 by his father Gvidtonio, he wrote a lot of "lively and beautiful paintings" (Vazari). Pictures "History Virginia" (Bergamo, Academy of Carrara) and "History of Lucretia" (Boston, Museum Isabella Stewart Gardner) were probably ordered on the occasion of Giovanni's marriage on Namicin Di Benedetto Nerli, held in 1500. There are also information about the painting of Botticelli in the chapel of Jorgho Vespucci Church of Ondisanti, but they did not reach us ..

Portraits of Botticelli, as already noted, stand, in general, below the images included in his composition. This is explained, it is likely that for the artist's imagination with his constant need for a perfect rhythm, a movement was needed, which the sulk portrait could not give, ordinary in the 20th century. We should not forget also about the elevated nature of the realism of Botticelli. In any case, the images of his "Simonetta" (Simoneette Vespucci) do not stand grace "Spring". As for his men's portraits, the artist's masterpieces include only "Lorentzano" for his amazing vitality, as well as a portrait of a young man (London National Gallery), where the expression of love is transmitted with exceptional expression.

Upon returning from Rome Botticelli, a number of large pictures of religious content also wrote a few tonso among them, where the fineness of the artist's senses was able to completely manifest itself in the distribution of forms on the plane. TDODO was intended to decorate the apartments of the Florentine nobility or for collections of artwork. The first tono known to us, dated by the seventies, is the "worship of the Magi" (London, National Gallery), possibly served as a table lid in the house of Puchchi. Starting with this still immature work, where the perspective distortion looks justifiable if the picture is horizontally, Botticelli demonstrates the "sophistic", sober and restless approach, described by Vazari: a round form gives the artist the opportunity to conduct optical experiments. Examples of this - "Madonna Magnitat" and "Madonna with a grenade" (both in the Uffizi). The first, 1485, thanks to the special bending of the curves of lines and the total circular rhythm, the picture written on the convex surface is impressed; In the second, created in 1487 for the court sessions, Palazzo Signoria, used the return reception, creating the effect of the surface concave.

Among the large religious compositions, the undoubted masterpiece is the Altar of St. Varnava, written immediately upon returning from Rome. Thanks to the strength of execution, some images of this composition look truly magnificent. Such are St. Katerina - an image full of covered passion and therefore much more alive than the image of Venus; sv. Varnava is an angel with a martyr's face and especially John the Baptist - one of the deepest and most humane images in the art of all time.

The great work of Botticelli "Wedding of Our Lady" (1490) is imbued with a different spirit. If in 1484-1489, Botticelli seems to be satisfied with himself and serenely experiencing the period of glory and skill, then "wedding" testifies to the confusion of feelings, about new anxieties and hopes. In the image of the angels a lot of emotion, the abandoned gesture of St. Jerome breathes with confidence and dignity. At the same time, there is some departure from the "perfection of proportions" (perhaps, just because it is a work and did not have much success), tensions relating, however, exclusively to the inner world of characters and therefore, the color sharpness is increasing, becoming more and more independent of lighting.

The desire for greater depth and drama, the whole value of which was able to appreciate only Adolfo Venturi, clearly manifests itself in other works of Botticelli. One of them is "abandoned." His plot, undoubtedly taken from the Bible: Famar, expelled by Ammona. But this partial historical fact in his artistic embodiment acquires eternal and universal sound: here and the feeling of the weakness of a woman, and compassion for its loneliness and repressed despair, and a deaf obstacle in the form of a closed gate and a thick wall that resembles the wall of a medieval castle.

In 1493, when the whole Florence was shocked by the death of Lorenzo magnificent, in the personal life of Botticelli, important events took place: he died and was buried next to the father in the cemetery of Otisanti Brother Giovanni, and another brother came from Naples, Simone, together with which the artist acquired the "Lord House "in the town of San Sepolkro A Bellozguardo.

In Florence, at that time, the fiery, revolutionary sermons of Fra Dzhirolamo Savonarola thundered. And while in the urban areas burned "vanity" (precious utensils, luxurious robes and works of art on the plots of pagan mythology), the hearts of Florentine flammmed and the revolution flared up, rather spiritual than the social, which struck first of all the most sensitive, silent minds that were Creators of elite intellectualism times Lorenzo. Revaluation of values, recession of interest in speculative illusory buildings, sincere need to update, the desire to gain durable, true moral and spiritual foundations were signs of deep internal disadvantages experienced by many Florentines (including Botticelli) in recent years of life of the magnificent and attained November 9, 1494 - on the feast of the Savior and the Day of Exile Medici.

Botticelli, who lived under the same roof with his brother Simone, convinced of the "Pianoni" (letters. "Plaks" - so called the followers of Savonarola), having experienced a strong influence of Fra Girolamo, which could not leave a deep track in his painting. Two altar images "Mailing Christ" from the Munich Old Pinakotek and the Milane Museum of Poland Petzoli are evidenced by eloquently. Pictures date back to about 1495 and were respectively in the Church of San Paolino and Santa Maria Maggiore.

In the "Chronicle" Simone Filipei, a brief mention was preserved that Sandro excited the fate of Savonarol, but there are no documentary evidence of his commitment to the teachings of the Dominican monk. Nevertheless, the thematic relationship with his sermons can be found in the late works of the master, such as "mystical Christmas" or "crucifix". The identity of the Savonarola that occupied such a significant place in the cultural and political events of the end of the XV century, was supposed to have attractiveness for Sandro. Indeed, as without taking into account the deep spiritual influence of Dominican, to explain a sharp change in the work of Botticelli from the 1490s before his death in 1510?

Manifested already in the early works of the master, a tendency to contemplation that allowed him about the nickname in neoplatonic ideas and give them a subtle visual interpretation, made it equally open and to the perception of the Spirit of the sermons of Savonarola. Actually, in this regard, at the same time cultural and psychological should consider the sympathy of Botticelli, the program of the Dominican reformer, not necessarily associated with direct participation in its movement or in the political affairs of the republic established after the expulsion of the Medici.

Strengthening moral and religious mood in the last works of Botticelli obviously. It is noticeably in the personal drama Botticelli, who, like Savonarol, felt the presence of the devil during the reign of Alexander Bordjia. But, on the other hand, to the issues of morality and religion, Botticelli treated seriously, which was already manifested when the idle and traditional Lippi motive found him mystical contemplation "Madonna Eucharist".

In the "crucifix" from the artistic assembly of Fogg, the image of a mystical Muk Magdalene, hugging in despair the base of the cross, is one of the highest samples of art. Florence is visible in the depths; It is possible that the image of an angel symbolizes the punishment of Florence, who sent to the bonfire Savonarol.

Already from youthful years, if not from birth, Sandro carries a high desire for beauty, a sense of deep compassion. The desire for beauty determined the elevated nature of its realism; The compassion gave physical beauty spirituality and humanity. Initially, the grace, gust, confidence, dreams: "Judith", "Madonna of the Eucharist", two options for "worshi", "Spring", "St. Augustine", the frescoes of the Sistine Chapel, "Altar of St. Varnava". Then the period of serene completeness of feelings: "Mars and Venus", "Birth of Venus", "Pallada and Centaur", "Madonna with St. Ioann Baptist and St. Ioan Evangelist." However, for the external perfection of these works, the Personality of Botticelli is not tangible not as before. Next to the danger threatening to him aimed at achieving purely external perfection, the artist feels another danger that threatens with all mankind, - the danger to destroy the soul. And Botticelli again experiences creative flour, now as a singer of moral beauty: "abandoned", "Annunciation", "Wedding of Our Lady", "Allegory slander". After the death of Savonarola, Botticelli flows into despair. Trying to understand my feelings, he passes from the murderer in "Christmas" to the heartbreaking motifs of "Crucifixes" and "scenes from St. Zinovia's life." So this path is completed - from the idyllic dreams of a sensitive young man to passionate preaching of the prophet.

The sense of the artist does not lose sharpness, but become extremely sensitive to matters of conscience and morality. And these feelings are even more exacerbated under the influence of the dramatic spectacle of sales and spoilness, against which the Reformation will soon send their blows.

Botticelli died in 1510, lonely, forgotten, according to Vazari. Perhaps loneliness was necessary for the spiritual life of the artist and that in it it was precisely his salvation.

As no other painter of the XV century Botticelli was endowed with the ability to the finest poetic understanding of life. He for the first time managed to transfer the hardly catchy nuances of human experiences. The joyful excitement is replaced in his pictures of melancholic dreameties, gusts of fun - a tosquet, calm contemplation - irrepressible passion.

Restless, emotionally sophisticated and subjective, but at the same time infinitely human, the art of Botticelli was one of the most peculiar manifestations of Renaissance humanism. The rationalistic spiritual world of people of Renaissance Botticelli has updated and enriched with its poetic images.

Sandro Botticelli is an outstanding representative of the Florentine painting of the Quatrocheto era. After death, the master went into oblivion. So it continued until the middle of the XIX century, when the public has again woke up in his work and biography. The name of Sandro Botticelli comes to mind and inhabitants, and specialists are one of the first when it comes to the art of early rebirth.

Childhood and youth

An interesting fact that not everyone knows about: Botticelli is not the real name of the artist. In childhood, his name was Alessandro di Mariano di Banny Filipei. On March 1, 1445, the younger son - Sandro was born in the family of Florentine Kozhevnik Mariano. In addition to him, the parents had three senior son: Giovanni and Simone who dedicated themselves trade, and Antonio, who chose a jewelry craft.

There is no consension about the origin of the surname of the painter. The first theory binds the nickname of Botticelli with the trading activities of the two senior artist's brothers ("Botticelle" translates as a barrel). Supporters of another theory also believe that the nickname went to Sandro from Brother Giovanni, but for another reason: he was a fat man. Other researchers argue that the new surname passed towards Botticelli from another brother - Antonio ("Battigello" - "Silver Affairs Master").

In his youth for 2 years, Sandro was a student of a jeweler. But in 1462 (or in 1464 - the opinions of the researchers diverge) entered the art workshop to Fra Filippo Lippi. When the last in 1467 left Florence, Andrea Verroko became the mentor of the future genius. By the way, he studied at the Verrocko workshop at one time with Botticelli. After 2 years, in 1469, Sandro began independent work.

Painting

The exact dates of writing most paintings are not known. Specialists identified exemplary dates based on stylistic analysis. The work that entered the story as the first and fully owned by the brush Botticelli is "the allegory of power." Written in 1470, she was intended for the hall of the Florentine Trade Court. Now is the exhibit of the Uffizi Gallery.

The first independent work of the artist also includes numerous images. The most famous "Madonna Eucharist", written around 1470. In the same period, Botticelli appears its own workshop. The son of his former mentor - Philippino Lippi - comes to Sandro with a student.

After 1470, the masters style features are increasingly manifested: a bright palette, the transfer of leather shades with saturated shades. The achievement of Botticelli as a painter is the ability to live and exccoing the drama of the plot, endowing the images of expression, feelings and movement. It was brightly manifested in early (1470-1472) Diptyja about the Old Testament feat, the decapitated Assyrian invader of Oolofer.

The first image of the naked body at Botticelli is the picture "Saint Sebastian". On the day of the Martyr, January 20, 1474, it was solemnly represented by residents of the city. Vertical canvas posted on the column of the Church of Santa Maria Maggiore.

In the middle of the 1470s, Sandro refers to a portrait genre of fine art. During this period, a "portrait of an unknown medal of Kozimo Medici appeared." Who was the young man, depicted in the picture 1474-1475, is not known. There is an assumption that it is a self-portrait. Some researchers believe that the model of the artist served Brother Antonio, others - that the canvase is depicted by the author of the medal or the representative of the Medici family.

With this powerful Florentine family and their surroundings, the painter came close to the 70s. On January 28, 1475 Juliano Medici, Brother of the head of the Florentine Republic, participated in the tournament with the standard, over the painting of which Botticelli worked. Around 1478, the artist was written by the portrait of Juliano himself.

On the glorified canvas "Waughty", the Medici family is almost in full swing together with a retinue. It was part of both Botticelli, whose figure can be seen in the right corner.

April 26, 1478 As a result of a failed conspiracy against Medici, Juliano was killed. By order of the surviving Lorenzo, the artist wrote a fresco over the gates leading to the Palazzo Vecchio. The image of the hired conspirators, performed by Botticelli, did not existee 20 years. After expulsion from Florence, the less fortunate ruler Piero Medici was destroyed.

By the end of the 1470s, the painter becomes popular outside the Tuscany. Dad Sikst Iv wished to see Sandro at the head of the painting of the walls of the newly built chapel. In 1481, Botticelli arrives in Rome and together with other artists begins work on frescoes. His brushes belong to three, including the "temptation of Christ", as well as 11 portraits of dad. After 30 years, the ceiling of the Sicstinian Chapel will signal, and it will become famous for the whole world.

After leaking from the Vatican, in the first half of the 1480s, Botticelli creates major masterpieces. They are inspired by the ancient culture and philosophy of humanists, followers of neoplatonism, with whom the artist became close to that period. Spring, written in 1482, is the most mysterious work of the author, which still does not have a clear interpretation. It is believed that the artist created a picture, inspired by the poem "On the nature of things" Lucretia, namely the passage:

"That's spring, and Venus goes, and Venus winged

Bulletin is ahead, and, marshmallows, in front of them

Marching the flora mother and, flowers on the path scattering,

The paints fill everything and the smell of sweet ...

Winds, goddess, run before you; With your approximion

Clouds go from heaven, earth-religious lush

Steel floral carpet, smiling sea waves,

And the Necksery of the Azure shines the flooded light "

This picture, as well as two other pearls of this period, Pallada and Centaur canvas and the Birth of Venus, owned Lorenzo di Pierfrantic Medici, the duke of Duke Florence. Giving the characteristic of these three works, the researchers note singers and plastic lines, the musicality of the color, the feeling of rhythm and harmony, expressed by subtle nuances.

In the late 1470s - early 1480s, Botticelli works on illustrations to the "Divine Comedy". From the drawings of the pen on the parchment, a few, among them - "the abyss of hell" were survived. From works on the religious topic of this period, "Madonna with a baby on the throne" (1484), "Annunciation Chestello" (1484-1490), TDUDO "Madonna Magnitiate" (1481-1485) and "Madonna with a grenade" (OK 1487) .

In 1490-1500, Botticelli was influenced by the teachings of the Dominican monastery Dzhirolamo Savonarol, who criticized the church orders of time and excess of secular life. Penetrating appeals to asceticism and repentance, Sandro began to use darker and restrained shades.

Landscapes and interior elements disappeared from portrait backgrounds, which can be seen on the "Dante Portrait" (approx. 1495). Written around 1490 "Judith, leaving the tent of Oloferna" and "mourning of Christ" - characteristic of the work time of the painter.

The accusation of Savonarola in Yersi and the execution in the 1498th, and even earlier - the death of Lorenzo Medici and the political excitement that followed this in Tuscany shook Botticelli. Mysticism and gloomy in creativity added. "Mystical Christmas" of 1500 is the main monument of this period and the last significant work of the artist.

Personal life

About the personal life of Botticelli knows little. The artist had no wife and children. A number of researchers believe that Sandro was in love with Vespucci Simoneette - the first beauty of Florence and the lady of the heart of Juliano Medici.

She served as a model for many paintings paintings. Simonette died in 1476 at the age of 23.

Death

In the last 4.5 years of life, Botticelli did not write and lived in poverty. The Great Master of the Age of Quatrocheto buried on the cemetery of the Florentine Church of Ontisanti on May 17, 1510.

Work

• oK. 1470 - "Allegory of Power"
• oK. 1470 - "WHOLCHES"
• oK.1470 - "Madonna Eucharist"
• 1474 - "Saint Sebastian"
• 1474-1475 - "Portrait of an unknown with Medal of Kozimo Medici"
• oK. 1475 - "Portrait of Juliano Medici"
• 1481-1485 - "Madonna Magnification"
• oK. 1482 - "Spring"
• 1482-1483 - "Pallada and Centaur"
• oK. 1485 - "Venus and Mars"
• oK. 1485 - "Birth of Venus"
• oK. 1487 - "Madonna with a grenade"
• oK. 1490 - "Mailing of Christ"
• oK. 1495 - "slander"
• oK. 1495 - "Portrait of Dante"
• 1495-1500 - "Judith, leaving the tent of Oolferna"
• 1500 - "Mystical Christmas"

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During the years of his life, Sandro Botticelli was a famous artist to whom he was often treated with orders of portraits. One of those who want to order a portrait was Simonetta, one of the most beautiful women of the Renaissance era. "Portrait [...]

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Sandro Botticelli, the works of which are an invaluable heritage, which embodies the reflections of the past times, is an outstanding painter of the Renaissance, a bright figure against the background of the painters of the Lorenzo period magnificent.

Biography of the Italian artist

The real name of Bothichelli - Alessandro di Mariano Filipei. Botticelli nickname was inherited from the elder brother and in translation means "barrels".

Florentian Sandro Botticelli, whose works cause admiration for the whole world, was born in 1445 in the family of a tanner of the skin and was the youngest son. Father Mariano Filipei with his wife Zamelda rented an apartment, his own workshop gave a very modest income, so Kozhevnik dreamed of successfully attach his sons and leave his craft. In 1458, Sandro worked as an apprentice in his brother belonging to his jewelry workshop. Podnatorsis in this fine art that requires confidence and accuracy in drawing, soon carried away with paintings and after two years he was signed up in students to the Florentine painter Fir Filippo Lippi, which was held until the age of 22.

The first lessons of Bottichelli

Valuable jewelry lessons were useful to the artist further: the famous works of Sandro Botticelli are characterized by the clarity of contour lines and the professional use of gold used in its pure form for the image of the background or as an impurity to the paints. The time spent in the master of the mentor, proceeded for the young man productively and fun. The student became a follower of his teacher and imagined him in everything. The latter, answering the reciprocity to such sincere devotion and the desire to absorb the knowledge gained as much as possible, tried to give Botticelli everything that was in his power. The style of the first teacher had a tremendous impact on the style of writing Botticelli paintings, especially on ornamental details, flavor and facial type.

Further, Sandro, thirsting for new knowledge, became the visitor to the workshop Andrea Verrocko - the Italian sculptor and the painter, a person of a versatile, who led the brigade of beginner talented artists. The atmosphere of creative search, which predicted in the environment of people of art, is pronounced in the first works of the Florentine Master: "Madonna with a baby and two angels" and "Madonna in Rosary". It is in them clearly traced the experience received by Botticelli from their teachers. In 1467, Florentian decided to open his own workshop.

The main works of Sandro Botticelli: "Allegory of Power"

The artist's first order was fulfilled in 1470 for the Hall of the Trade Court - a city institution who considered the case of economic offenses. It was a picture of the "Allegory of Power", which portrayed the shame on a deep throne. Being an embodiment of the conviction and moral strength, the "power" of Botticelli his pose expresses instability and internal fragility.

1472 The Sandro for Sandro was marked by enrollment in the union of artists - the Guild of St. Luke, which gave painting the opportunity to contain a workshop on the legal basis, surrounding himself by assistants. One of the students of Botticelli was the son of a former teacher - Philippino Lippi.

Fame of Florentine painter

By 1475, Sandro Botticelli, the works of which for the most part are written on biblical and mythological topics, became a widely known and demanded master. The artist wrote pictures for churches, created frescoes, gradually replacing the grace and plane linearity from Philippo and flat linearity with a new comprehension of volumes and a more powerful interpretation of figures. Unlike its first teacher, the works of which the pale palette is inherent, the painter has enriched its cloths with a bright color, gradually acquired increasing saturation. Also Sandro Botticelli, the paintings of which embody the spirit of the Renaissance, for the transfer of corporal color began to use the ocher shadows - the reception, which became a feature of his style of writing climbing.

Famous works of Sandro Botticelli

Photo of the Italian artist's canvases transfer the most huge talent of Florentine, who left a bright trail in the creative heritage of their country. Many works of Sandro Botticelli belong to the 1470s, although not all of them have accurate dating. The time of writing greater parts was determined by carrying out stylistic analysis.

To this time period include such canvases as "worship of Magi" (1475), "St. Sebastian "(1473)," Portrait of the Florentine Lady "(1470) and" Portrait of a Young Man "(1470). Approximately in 1476, a portrait of Brother Lorenzo magnificent - Juliano Medici, killed during a conspiracy of 1478 years. Botticelli closely contacted the Medician family - the undisputed rulers of Florence. It was for Juliano that the artist painted the banner for the tournament of 1475.

Personality of the style of Botticelli

In the work of the period of the 1470s, you can trace the gradual growth of the artistic skill of the Florentine author: the borrowed styles of other artists and stylistic oscillations disappeared in its canvases. Botticelli has his own writing style: the characters of its paintings are characterized by a strong structure, the circuits are characterized by energy, elegance and clarity, and the dramatic imagery is achieved by a combination of strong internal mood and active action.

These components are present in the fresco of "St. Aavgustin" (1480). The artist was strong in writing still life. The items present in his paintings are accurate and clear, expressing the author's ability to properly capture the essence of the form. At the same time, they do not go to the fore, focusing the viewer's attention on key characters. As a background of Sandro Botticelli, the paintings of which are presented in the most famous world galleries, used Gothic churches, walls of locks, thus achieving a picturesque romantic effect.

Frescoes for the Sistine Chapel

Sandro Botticelli's orders, whose works lead the audience audience in full delight, mainly received in Florence. One of the most famous paintings - "Saint Sebastian" is written for the oldest city church of Santa Maria Maggiore. The canvas, solemnly placed on one of the church columns in January 1474, firmly established in the artistic panorama of Florence. In 1481, Sandro Botticelli, together with Domenico, Girlandiano and Kozimo Rosselli received an invitation from Pope Sicsta IV to Rome to write frescoes on the side walls of the just erected Sicastine Chapel.

In the work performed "Healing of the Level and Temptation of Christ", "Punishment of Korea" and "scenes from the life of Moses" The author virtuously solved the problem of interpretation of a complex theological program: fully using composite effects, interpreted it alive, clear, light dramatic scenes.

Mythological trend in Botticelli canvas

Returning in 1482 in Florence, Sandro buried his father. After a small break, again took up writing paintings. This time was the peak of Glory Botticelli: Customers were crowded into his workshop in his workshop, so some orders were performed by the students of the Master, while he himself was taken for complex and prestigious orders.

At this time, the world saw the famous works of Sandro Botticelli: "Pallada and Centaur", "Spring", "Venus and Mars", "Birth of Venus", relating to the number of the most valuable works of the Renaissance and are true masterpieces of Western European art. The plots of these canvases, in which the impact of ancient art and excellent knowledge of the classical sculpture, inspired by mythology.

"Birth of Venus"

"Birth of Venus" symbolizes the myth about the combination of matter and the life-giving spirit that breathes in it. Improving the human race is embodied in the figure of Ore, the extensive goddess of the modesty raincoat - a historical moment, which is very clear and penetrated with the Italian master Sandro Botticelli.

Pictures, a list of which is quite extensive, in the later stages began to be characterized by signs of some manners, so to speak, by self-examination of their own skills. For the growing psychological expressiveness goes to violation of the proportions of figures. It is known that Botticelli often ordered sketches for engravings and fabrics, but only a small part of these drawings reached our time.

Famous Italian cloths

The "Wedding of Our Lady" (1490) is impregnated with exciting anxiety, concern of feelings and bright hopes. Angels captured in the picture are alarming, in the gesture of St. Jerome is traced confidence and dignity. A certain waste is felt in the work of perfection of proportions, increasing tension, strengthening color sharpness - some change in style inherent in Sandro Botticelli.

Works, photos of cloths express the desire for deep drama, which is clearly traced in the painting "abandoned", the plot of which is taken from the Bible: Famar, which Ammon drove out. The artistic personification of this historical fact carries the universal sense: understanding of the weakness of a woman, sympathy for loneliness and desperate, deaf barrier in the form of a thick wall and locked gates.

The last years of the life of the Italian artist

In 1493, Botticelli buried her beloved brother Giovanni, Florence at that time was forgated with Lorenzo magnificent. In the city - the former cradle of humanistic thought - the revolutionary speeches of Savonods sounded. Sandro Botticelli came in the life. Pictures, the description of which is characterized by deep sadness and longing, express a full decline in the mood of the author. The sermons of Savonod about the upcoming end of the world led to the fact that the people in February 1497 at the central square arranged a huge bonfire, in which the valuable works of art grew. Also, some artists were also a mass psychosis, among whom was Botticelli. In flame languages, he burned a few of his sketches, although there is no accurate evidence of this act. Soon Savonarola was accused of heresy and publicly executed.

By the end of his life, Botticelli was very lonely, he became gentle and sick. According to contemporaries, the artist was able to move only with crutches. His fame remained in the past, they stopped the orders: the times changed, a new era of art came to shift. The artist was never married and had no children. Sandro Botticelli died in full solitude in 1510.