Botticelli Sandro (Botticelli, Sandro)

Botticelli Sandro (Botticelli, Sandro) (1445-1510), one of the most prominent artists of the Renaissance. Born in Florence in 1444 in the family of a tanker of the skin of Mariano di Banny Filipei (nickname Botticelli, meaning "barrels", actually belonged to his elder brother). After initial training at the Jeweler OK. 1462 Botticelli entered the workshop of one of the leading painters of Florence, Fra Filippo Lippi. Filippo Lippi's style had a huge impact on Botticelli, manifested mainly in certain types of individuals, ornamental details and flavor. In its works of the end of the 1460s, fragile, flat linearity and grace taken through Filippo Lippi are replaced by a more powerful interpretation of figures and a new reflection of plastle volumes. Approximately at the same time Botticelli begins to use energetic oath shadows for the transfer of corporal color - the reception that has become a characteristic feature of his painting style. These changes are manifested in its entirety in the earliest documented picture of Botticelli allegory of power (approx. 1470, Florence, Uffizi Gallery) and in a less pronounced form in two early Madonns (Naples, Capodimont Gallery; Boston, Museum Isabella Stewart Gardner). Two famous paired compositions History of Yudifi (Florence, Uffizi), also related to the number of early works of the master (approx. 1470), illustrate another important aspect of Botticelli's painting: a living and capacious narrative, in which expression and action are connected, with full clear dramatic essence, plot. They also found a flagrant change of color, which becomes brighter and rich, unlike the Pale Filippo Lippi palette, which prevails in the earliest picture of Botticelli - worship of Magi (London, National Gallery).

Pictures of Botichelli:

Among the works of Botticelli only a few have reliable dates; Many of his paintings were dated based on stylistic analysis. Some of the most famous works refer to the 1470s: the picture of St. Sebastian (1473), the earliest image of the naked body in the work of the master; Worship of Magi (approx. 1475, Uffizi). Two portraits - a young man (Florence, the Pitty Gallery) and the Florentine Ladon (London, the Victoria and Albert Museum) are dating from the early 1470s. Somewhat later, perhaps in 1476, a portrait of Juliano Medici, Brother Lorenzo (Washington, National Gallery). The works of this decade demonstrate the gradual growth of Botticelli's artistic skills. He used the techniques and principles set forth in the first outstanding theoretical treatise on the Renaissance painting belonging to Peru Leon Battists Alberti (about painting, 1435-1436), and experimented with the prospect. By the end of the 1470s, stylistic oscillations and direct borrowings from other artists were disappeared in the works of Botticelli in the early artists. By this time, he already confidently owned a completely individual style: the figures of the characters acquire a sturdy structure, and their contours are surprisingly combining clarity and elegance with energetic; Dramatic expressiveness is achieved by a compound of active action and deep inner experience. All these qualities are present in the fresco of St. Augustine (Florence, Church of Ontisanti), written in 1480 as a paired composition to the fresco of Girlandian St. Jerome.

Objects surrounding St. Augustine, - Püpiter, books, scientific instruments, - demonstrate the skill of Botticelli in the tradition of still life: they are depicted with accuracy and clarity, discovering the ability of the artist to grab the essence of the form, but at the same time they are not striking and do not distract from the main thing. Perhaps this interest in still life is associated with the influence of the Netherlands painting, which caused the admiration of the Florentine 15 V. Of course, Dutch art affected the interpretation of the landscape from Botticelli. Leonardo da Vinci wrote that "Our Botticelli" showed little interest in the landscape: "... he says that this is an empty lesson, because it is enough to just throw a sponge-soaked sponge, and she will leave a spot in which you can distinguish the beautiful landscape. . Botticelli is usually satisfied with the use of conditional motives for the backgrounds of their paintings, diverse them with the inclusion of the motives of the Netherlands painting, such as Gothic churches, locks and walls, to achieve a romantic-pictorial effect.

In 1481, Botticelli was invited by Pope Sequust IV in Rome along with Kozimo Rosselly and Girondayo in order to write frescoes on the side walls of the just rebuilt Sicstinian chapel. He completed three of these frescoes: scenes from the life of Moses, the healing of the lepers and the temptation of Christ and the punishment of Korea, Dafan and Abiron. In all three frescoes, the problem of presenting the complex theological program in clear, lungs and living dramatic scenes was solved; At the same time, composite effects are fully used.

After returning to Florence, perhaps at the end of 1481 or early 1482, Botticelli wrote his famous paintings on mythological topics: Spring, Pallada and Centaur, Birth of Venus (all in Uffizi) and Venus and Mars (London, National Gallery), belonging to the number The most famous works of the Renaissance and are genuine masterpieces of Western European art. Characters and plots of these paintings are inspired by the works of antique poets, primarily Lucretia and Ovid, as well as mythology. They feel the influence of ancient art, good knowledge of the classic sculpture or sketches from it, which had a great distribution in the Renaissance Epoch. So, graces from spring go back to the classic group of three graces, and Venus's posture from the birth of Venus - to the type Venus Pudica (Venus shame).

Some scientists see in these pictures a visual embodiment of the main ideas of Florentine Neopotonikov, especially Martilyo Fechino (1433-1499). However, adherents of this hypothesis ignore the sensual beginning in three paintings with the image of Venus and the glorification of purity and indispensability, which is undoubtedly the theme of Pallada and Centaur. The most believable hypothesis, according to which all four paintings were written on the occasion of the wedding. They are the most wonderful of the preserved works of this painting genre, which glorifies the marriage and virtues associated with the birth of love in the shower of the immaculate and beautiful bride. The same ideas are the main in four compositions illustrating the story of Bokcchcho Nastajo deli (are located in different collections), and two frescoes (Louvre), written about 1486 on the occasion of the wedding of the son of one of the nearest members of the Medici.

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 Our Lady with a baby and St. John the Baptist (1484) and the Annunciation of Chesterlo (1484-1490, Uffizi). But in the Annunciation of Chestello, the first signs of manners appear, which gradually grew up in the late works of Botticelli, leading him from the completeness and wealth of nature of the mature period of creativity to the style, in which the artist admires the peculiarities of his own manner. The proportions of the figures are violated to enhance psychological expressiveness. This style in one form or another is characteristic of the works of Botticelli 1490s and the beginning of the 1500s, even for the allegorical pattern of slander (Uffizi), in which the master is deleting his own work, associating it with the creation of the Apelles, the greatest of the ancient Greek painters. Two paintings, written after the Fall of Medici in 1494 and under the influence of the preachs of Dzhirolamo Savonarola (1452-1498), - Crucifixion (Kamebridge, Massachusetts, Fogg Art Museum) and Mystical Christmas (1500, London, National Gallery) - are an incarnation of unshakable faith Botticelli in the revival of the church. These two paintings reflect the rejection by the artist of the secular Florence of the Medici era. Other works of the master, such as scenes from the life of Roman Virginia (Bergamo, Academy of Carrara) and scenes from the life of the Romans Lucretia (Boston, the Museum of Isabella Stewart Gardner), express his hatred for the tyranny Medici.

There are few drawings of Botticelli himself, although it is known that he often ordered sketches for fabrics and engravings. Exceptional interest is a series of illustrations for Dante Divine Comedy. Deep thoughtful graphic comments to the Great Poem in many ways remained unfinished.

About 50 paintings are completely or largely belong to Botticelli's brush. He was the head of the prosperous workshop who worked in the same genres as the master himself, in which the products of different quality was created. Many of the paintings are spelled out by their own hand of Botticelli or are made by his plan. Almost all is characterized by pronounced flatness and linearity in the interpretation of the shape, connected to the frank mannerism. Botticelli died in Florence on May 1710.

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 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.

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(1445-1510), Italian painter of the Epoch of early Renaissance. Belonged to the Florentine school, about 1465-1466 studied by Philippo Lippi; In 1481-1482 he worked in Rome. The early works of Botticelli are characterized by a clear building of space, clear black and white modeling, interest in household details ("worship of the Magi", about 1476-1471,). 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 1483-1485, - both in the 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. In performed Botticelli in 1481-1482 frescoes in the Siccstinian chapel in the Vatican ("Scenes from the life of Moses", "Punishment of Korea, Dafan and Abiron", etc.) The majestic harmony of the landscape and the ancient architecture is combined with the internal stress, the sharpness of portrait characteristics peculiar to , along with the search for subtle nuances of the inner state of the human soul, and the Masters Machine Portrait (Portrait of Juliano Medici, 1470s, Bergamo; Portrait of a young man with a medal, 1474). In the 1490s, in the epoch, the Florence of Savonarol's social and ascetic sermons of the monk of Savonarola, in the art of Botticelli, notes of drama and religious exaltation ("slander", after 1495, Uffizi) appear, but his drawings to the "Divine Comedy" of Dante ( 1492-1497) In the sharpness of emotional expressiveness, the ease of line and the renaissance clarity of images are preserved.

Creativity Leonardo da Vinci

Leonardo da Vinci (1452-1519), Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of high rebirth, Leonardo da Vinci developed as a master, studying in Florence at the Verrocko. Methods of work in the Village Workshop, where artistic practice was conjugated with technical experiments, as well as friendship with astronomer P.Toschelli contributed to the origin of the scientific interests of the young da Vinci. In early works (Angel's head in "Baptism" Verrocko, after 1470, "Annunciation", about 1474, - both in the Uffizi; the so-called "Madonna Benua", about 1478, State Hermitage, St. Petersburg) artist, developing the traditions of the art of early Renaissance, emphasized the smooth volume of mild lighting forms, sometimes revived the face with a cauldly smile, seeking to transfer fine mental states. Fixing the results of countless observations in sketches, sketches and homefinds performed in various techniques (Italian and silver pencils, Sangina, Feather, etc.), Leonardo da Vinci sought, resorting sometimes to almost caricature grotescu, acute in the transfer of facials, and physical Features and movement of the human body led in perfect compliance with the spiritual atmosphere of the composition.

In 1481 or 1482, Leonardo da Vinci entered the service to the ruler of Milan Lodovico Moro, performed the responsibilities of a military engineer, hydraulic engineering, organizer of the court holidays. Over the 10 years, he worked on the horse's horse monument to Francesco, the father of Lodovico Moro (the clay model of the monument in full size was destroyed by the capture of Milan by the French in 1500). In the Milane period, Leonardo da Vinci created 2 options for "Madonna in Grote", where the characters are presented surrounded by a bizarre rocky landscape, and the finest shovel plays the role of spiritual principle, emphasizing the warmth of human relations. In the refectory monastery of Santa Maria Delle Grazie, he performed the wall painting "Last Supper" (1495-1497; due to the features of the leonardo da Vinci appliances applied - oil with tempera - preserved in a strongly damaged form; in the twentieth century), marked with one from the vertices of European painting; Its high ethical and spiritual content is expressed in mathematical patterns of the composition, logically continuing the real architectural space, in a clear, strictly developed system of gestures and facial expressions of characters, in harmonious equilibrium forms.

By architecture, Leonardo da Vinci developed various options for the "ideal" city and projects of the Central-Dome Temple, which had a great influence on modern architecture of Italy. After the fall of Milan, the life of Leonardo da Vinci passed in the incessant moving. In Florence, he worked on the painting of the Hall of the Greater Council in the Palazzo Vecchio "Battle of Angyari" (1503-1506, not completed, known through copies from cardboard), standing at the origins of the European battle of the new time. In the portrait of Monsya Lisa (approx. 1503), he embodied the sublime ideal of eternal femininity and human charm; An important element of the composition was the cosmic extensive landscape, melting in a cold blue haze. To the late works of Leonardo da Vinci include the altar image of "St. John with Maria and Baby Christ" (about 1500-1507), the final search for a master in the field of light-air perspective, and "John the Baptist" (about 1513-1517), where a few sputtering ambiguity The image testifies to the growing of crisis moments in the work of the artist. In a series of drawings with the image of an universal catastrophe (cycle with a "flood", approx. 1514-1516), meditation about the insignificance of a person in front of the power of the elements are combined with rationalistic ideas about the cyclical nature of natural processes. The most important source to study the views of Leonardo da Vinci are his notebooks and manuscripts (about 7 thousand sheets), excerpts of which were included in the "Treatise on painting", compiled after the death of Master of his student F. Meltsi and had a huge impact on European theoretical thought and Artistic practice. In the argument of the arts of Leonardo da Vinci, the first place was given painting, understanding it as a universal language capable of embodying all the diverse manifestations of a reasonable start in nature. As a scientist and engineer, he enriched almost all areas of science of that time. The bright representative of the new, based on the experiment of the natural science of Leonardo da Vinci, paid special attention to the mechanics, seeing the main key to the secrets of the universe; His brilliant constructive guesses were much ahead of the modern era (projects of rolling mills, cars, submarines, aircraft).

The observations collected by them above the influence of transparent and translucent media on the color of the objects led to an approval in the art of the high revival of scientifically based principles of the air perspective. Studying the device of the eye, Leonardo da Vinci expressed the right guesses about the nature of binocular vision. In anatomical drawings, he laid the foundations of modern scientific illustration, also engaged in Botanic and biology.

Biography Sandro Botticelli Very rich. Let's start with the fact that his name is nickname. In fact, his name was Alessandro di Mariano Filipei. Sandro is a cut from Alessandro, but the nickname of Botticelli stuck to him, because so called one of the older brothers of the artist. Translated this means "barrels". He was born in Florence in 1445.

The father of the future artist was Kozhevnik. At about 1458, a small Sandro had already worked aside in a jewelry workshop, which belonged to one of his older brothers. But he did not stay there for a long time, and in early 1460s was recorded in the students to the artist Fra Philippe Lippi.

Years in the art workshop of Lippi were fun and productive. The artist and his student were well laid among themselves. Subsequently, Lippi himself became a student of Botticelli. From 1467, Sandro opened his own workshop.

The first to order Botticelli performed for the courthouse. It was in 1470. By 1475, Sandro Botticelli was quite famous and in demand master. He began to create frescoes, writing paintings for churches.

Botticelli considered "their" man almost everywhere, including in rich royal families. So, Lorenzo di Pierfranth de Medici, when he bought a villa, invited Sandro Botticelli to live with him and write paintings for the interior. It was at that time that Botticelli writes two of their most famous paintings - "" and "". Both paintings are presented on our website with a detailed description.

By 1481, Botticelli went to Rome at the invitation of Pope Siksta IV. He took part in the painting, which was just finished building.

After the death of the Father in 1482, Botticelli returned to his native Florence. Having survived the tragedy, the artist undertook again for the paintings. Customers crowded in his workshop, so some work performed a student of the master, and he also took over more complex and prestigious orders. This time was the peak of the glory of Sandro Botticelli. He heard the best artist of Italy.

But after ten years, power replaced. Savonarola asked the throne, which despised media, their luxury, sales. Botticelli had to be not easy. In addition, in 1493, Brother Botticelli died - Giovanni, whom he loved. Botticelli lost all support. At least this period lasted for a long time, because in 1498 Savonarol was excommunicated from the church and burned on the fire publicly, yet he was very difficult.

By the end of his life, Botticelli was very lonely. There was no trace about his former glory. He was rejected as an artist, and did not make more orders. He died in 1510.

"His purely personal art reflected the face of the century. In it, as in focus, everything was connected, which was preceded by the time of culture, and everything that was then "present" (A. Benua).

The real name of the artist - Alessandro Mariano di Banny di amedeo Filipei. He was born in a simple family - his father was a tuning skin, but brought up his elder brother Antonio, who was a wonderful jeweler. Because of his completeness, he was nusted "Botticello" (barrel), this nickname and passed to Sandro. But there is an opinion that this nickname Botticelli received for the peculiarities of his figure. However, it has nothing to do with his work.
Sandro Botticelli (1445-1510) - The famous Italian artist of early Renaissance, representative of the Florentine school. The first thing that rushes into the eyes when looking at the pictures of Botticelli, is their spirituality and slim color. It is believed that Botticelli created about 50 paintings.
Sandro studied, like all the children of his time, and then became an apprentice in the jewelry workshop of his brother Antonio. But for a long time it was not delayed and about 1464 moved to students to Filippo Lippey.one of the famous artists of that time.

Influence of Filippo Lippie

Creativity Filippo Lippi had a very big influence on Botticelli, and with a attentive look at the paintings of these artists, this influence is obvious. For example, a turn of the face in three quarters, the decorativeness of the drawing of the drapes, hands, a tendency to detail, the lyrics of the created images. But the main thing is color. He, as if gently glows. Here, for comparison, the pictures of F. Lippi and S. Botticelli.

F. Lippi. The altar of the Novice. Uffizi (Florence)

S. Botticelli "Madonna with a baby and two angels" (1465-1470)
An interesting fact: at first Botticelli was a student of Lippi, and then the son of Lippi became a student of Botticelli.
Artists collaborated until 1467, and then their ways were separated: Filippo went to Spoleto, Botticelli remained in Florence and opened his workshop there in 1470

Works on religious and mythological topics (early work)

Botticelli was close to the yard Medici. and humanistic circles of Florence. And it was of great importance, because Medici, oligarchic family, are known as the patrons of the most prominent artists and architects of the Renaissance. Representatives of this family from the XIII to the XVIII centuries. Repeatedly became the rulers of Florence.
From the works of S. Botticelli second half of the XV century. I want to highlight a few.

S. Botticelli. Diptych about the history of Yudifi

Judith - Old Testament Character, Jewish widow, saving his hometown from the invasion of Assyrians. The judith is considered a symbol of the struggle of Jews against oppressors, a symbol of patriotism. When the Assyrian troops were besieged by her hometown, she dressed up and went to the camp of enemies, where she attracted the attention of the commander. When he fell asleep, she cut off his head with a sharp sword, quietly passed by the sleeping warriors and returned to the saved hometown.
Diptych consists of 2 paintings: "Return of Judith" and "Finding the body of Oolferna".
It is the scene of the return of Yudifi depicts Botichelli in this picture.

S. Botticelli "Return of Judith" (1472-1473)
Judith accompanies her maid. The girl holds a huge sword in his hand, her face concentrately and sad, the legs of the Bosa, she is a decisive step home - the maidel barely sleeps for her quick step, holding the basket with his hand, in which the head of King Oolofer is located.
Botticelli does not show the judith as a beautiful and seductive girl (so they portrayed her many artists), he prefers heroic moment in the life of Judith.

S. Botticelli "Saint Sebastian" (1474)

Sebastian (Sevastian) - Roman legionnaire, Christian saint, revered as a martyr. He was the head of the Pretorian Guard under the emperors Diocletian and Maximian. He secretly confessed Christianity. Two of his friends (Brothers Mark and Markellin) were convicted of death for faith in Christ. The relatives and wives of convicts begged them to renounce the faith and save their lives, and at one moment Mark and Markellin began to fluctuate, but Sebastian came to support the convicts, his speech inspired his brothers and convinced them to preserve the loyalty to Christianity. I heard Sebastian saw seven angels and a young man who blessed Sebastian and said: "You will always be with me."
Sebastian was arrested and interrogated, after which the emperor Diocletian ordered him to take him out of town, tie and pierced by arrows. Thinking that he was dead, the executioners left him to lie alone, but none of his vital organs were damaged arrows, and his wounds, though deep, were not fatal. The widow named Irina came at night to bury him, but discovered that he was alive and went out. Many Christians persuaded Sebastian to flee Rome, but he refused and appeared before the emperor with a new proof of his faith. By the orders of Diocletian, he was scored by stones to death, and his body was dropped into a large Cloaca. Holy appeared in a dream of a Christian Lukina and told her to pick up his body and bury in the catacombs, and the woman fulfilled this command.
On the picture of Botticelli Sebastian calm, he is not afraid of death; It seems that the arrows who stitched into his body absolutely do not worry the hero. He tried his faith patiently and submissively through all the suffering.

S. Botticelli "Worship of Magi" (approx. 1475). Uffizi Gallery (Florence)

In the form of Magi Botticelli portrayed three members of the Medici family: the Kozimo of the Senior, who keen knees in front of the Virgin Maria, and his sons of Piero di Kozimo (the crankshake in the Red Mantle in the center of the painting) and Giovanni di Kozimo next to him. By the time of writing the picture, all three were already dead, Florence was ruled by the grandson of Kozimo - Lorenzo Medici. He is also depicted in the picture along with his brother Juliano.

Self-portrait of the Botticelli itself is made in the image of a blond young man in a yellow mantle at the right edge of the picture.
D. Vazari so responded about this picture: "It is impossible and described all the beauty of Sandro in the image of the heads turned in a wide variety of positions - then in the FAS, then in the profile, then in the sessorate, then, finally, inclined, and then how else there are otherwise - it is also impossible to describe all the diversity in the expressions of persons in the young men and in old people with all the deviations on which one can judge the perfection of his skills - because even in the numbers of the three kings he made so many distinctive features that it's easy to understand who is easy to understand who It serves one, and who is another. Truly, the work is the greatest miracle, and it has been brought to such an excellence in color, the picture and composition that every artist and today it amazes him. "
At this time, Botticelli writes wonderful portraits.

S. Botticelli "Portrait of an unknown with the medal of Kozimo Medici of the Elder" (approx. 1475). Uffizi (Florence)
Picture written on a wooden board by tempera. Reception is used unique for the Renaissance: A round niche has been made in the board, where the pasta is inserted - the gold-plated gypsum and covered with gold paint a copy of the medal cast in honor of Kozimo Medici around 1465
The innovation of the artist is that he portrayed the young man in almost the FAS (they used to be sickly strictly in the profile), with the hands clearly imparted (this was not previously done) and with the landscape in the background (previously the background was neutral).

S. Botticelli "Portrait of a young woman" (1476-1480). Berlin Gallery
This portrait of Botticelli creates in accordance with the principles of F. Lippi, his teacher - he returns to a strict profile with an elegant silhouette and a rigid frame, niche or window. The portrait is idealized, close to a collective image.
Who was the model? The answer is difficult to give. And assumptions are: Simonetta Vespucci (secret love and model Botticelli and Beloved Juliano Medici); Mother or wife Lorenzo Medici (gorgeous).

In Rome (1481-1482)

By this time, Botticelli became a very famous artist not only in Florence, but also beyond. His orders were very numerous. Pope Sikst IV, built a chapel in his Roman Palace, also wished to paint Sandro Botticelli. In 1481, Botticelli arrived in Rome. Together with Girondayo, Rosselly and Perugino, he decorated the frescoes of the wall of papal chapels in the Vatican, which is known as the Sicstinian chapel. It will gain worldwide glory after in 1508-1512. The ceiling and the altar wall will collapse Michelangelo.
Botticelli created three frescoes for Chapel: "Punishment of Korea, Daphne and Aviron," "The Temptation of Christ" and "Calling Moses", as well as 11 papal portraits.

S. Botticelli "The Temptation of Christ" (1482)

Three episodes of the Gospel are captured - the temptation of Christ - in the upper part of the frescoes. On the left, the devil under the liquefit is persuaded by the caught Jesus to turn the stones into bread and quench the hunger. In the center, the devil is trying to force Jesus to jump from the top of the Jerusalem Temple to experience the promise of God about Angelic Protection. On the right, the devil on top of the mountain promises Jesus the richness of earthly and power over the world, if he rejects God and worst him, the devil. Jesus sends the devil away, and the angels come to serve the Son of God.
In the foreground, the young man healed from leprosy comes to the Supreme Priest of the Temple to declare his cleansing. In his hands the sacrificial bowl and frost. The Supreme Priest symbolizes Moses, which brought the law, and the young man is Jesus, who shed his blood and gave life in the name of mankind, and after was resurrected.
Some foreground figures are portraits of the author's contemporaries.

Pictures of Botticelli of a secular subject

The most famous and most mysterious work of Botticelli - "Spring" ("Primaver").

S. Botticelli "Spring" (1482). Uffizi Gallery (Florence)
The picture shows the glade in the orange garden, all the dilated flowers. Flowers, according to Botany, are reproduced with photographic accuracy, but among them not only spring, but also summer, and even winter flowers.
Three characters of the first group: The God of the Western Wind of Marshmallow, he pursues chloride depicted at the time of turning into flora - the flowers are already flying out of the mouth; The goddess of flowers flora generous hand scatches roses.
The central group forms Venus alone, the goddess of gardens and love. Above the Venus is Cupid with tied eyes, guiding the arrow to the middle chait.
Left Venera is a group of three Harit, who dance, holding hands.
The last group forms Mercury with its attributes: helmet, covered sandals. Botticelli portrayed him a guy garden with a sword.
All characters almost do not touch the Earth, they whatever so far.
There are many interpretations of the picture. They can be divided into philosophical, mythological, religious, historical and exotic.
About 1485 Botticelli creates another famous belt "Birth of Venus".

S. Botticelli "Birth of Venus" (1482). Uffizi (Florence)

It is believed that the model for Venus was Simoneetta Vespucci.
The picture illustrates the myth of the birth of Venus (Greek. Aphrodites. Read the Olympic Gods article). The naked goddess is floating to the shore in the sash of the shell, customized by the wind. In the left side of the marshmallow (Western Wind) in the arms of his wife chlorides (Rome. Flora) blows on the sink, creating a wind filled with flowers. On the shore, the goddess meets one of the grants.
In the post of Venus, the influence of the classical Greek sculpture is clearly traced. Body proportions are based on the canon of harmony and beauty.
Creativity Sandro Botticelli is distinguished by a special singer of the line in each of his paintings, a sense of rhythm and harmony, but they are especially pronounced in his "spring" and "birth of Venus". The artist never enjoyed screening techniques, so his paintings worry and modern viewer.

Religious paintings S. Botticelli 1480s

Religious works of Botticelli of this time are the highest creative achievements of the painter.

"Madonna Magnitiate" (1481-1485) became famous in the life of the artist. The picture shows the coronation of Our Lady by two angels in the appearance of the details. Three other angels hold an open book in front of her, in which Maria enters the sloop, starting from: Magnificat Anima Mea Dominum ("Majses My Lord"). On the knees of Mary - baby Jesus, a in his left hand she holds a grenade, the symbol of God's Mercy.

Late work Sandro Botticelli

In the 1490s, the artist was in a hard moral condition. The death of Lorenzo magnificent, capturing Florence by French troops and the apocalyptic views of Savonarola, who sympathized with Botticelli, - all this strongly affected his consciousness. His paintings of this period are full of drama, longing and hopelessness ("abandoned", "mourning Christ", "slander", etc.).

S. Botticelli "Abandoned" (approx. 1495). Rome, Pallavichini Collection
Lonely young woman depicted in a great mountain and confusion of feelings. Figure on the background of a deaf wall - and there is nothing more in this even for Sandro an extraordinary and strange picture. Who is she, this woman? Her face could clarify something to us, but the faces are just not visible. Worn dresses hint at a long, lonely and hopeless way. Split shirts on steps as corpses ... "abandoned" so much is so significant that the true meaning of her wider than any particular plot.

S. Bottichelli "Playing Christ" (1495)
Three Mary and John the Bologoslov leaned in the mountain over the lifeless body of Christ. All day they stood at the cross, watching his flour and death. Joseph from Arimafia, coming to Pilate, asked the body of Jesus. Then Pilate ordered the body. Joseph is depicted with a thunder wreath in hand. Taking the body, Joseph walked his pure relief and put in his new coffin, which heights in a rock - in that coffin, which Joseph, the presentation of his own death, prepared himself.
Botticelli placed all the figures very close to each other and at the edge of the picture. They seem to form a cross and unity over the body of Christ.
John theologian pressed against the Virgin Mary, because Christ bequeathed to her beloved student to treat her as a mother. Maria Magdalene hugs his legs, and Maria, the mother of Jacob younger, the head of Christ ...
Botticelli died on May 17, 1510. He was buried on the cemetery of the church of all saints in Florence.
The works of Botticelli are brightly embodied the features of sublime poetry, refinement, sophistication, spirituality, beauty. This is one of the most emotional and lyrical artists of the Renaissance.