Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s   Related Paintings of Sandro Botticelli :. | Calumny | Adoration of the Magi | Madonna dell'Eucarestia | Details of St Augustine in his Study (mk36) | Venus and the Graces offering gifts to a youg woman |
Related Artists:
Arthur Melville,ARSA,RSW,RWS
1855-1904
Edouard Debat Ponsan
French Academic Painter, 1847-1913 1847-1913.French painter. He trained in Toulouse and later at the Ecole des Beaux-Arts in Paris under Alexandre Cabanel. In 1873 he won second place in the Prix de Rome and in 1874 the Prix Troyon of the Institut. From the Institut he received a bursary that enabled him to visit Italy. In 1870 he made his debut at the Salon under the name Ponsan-Debat and afterwards exhibited there such genre and history paintings as Jephthah's Daughter (1876; Carcassonne, Mus. B.-A.). He also executed religious works, some of which were for churches and cathedrals: he painted St Paul before the Areopagus (1877) for the church at Courbevoie and the Pity of St Louis for the Dead (1879) for the cathedral at La Rochelle. From 1880 Debat-Ponsan was the name under which he exhibited. The Massage (1883; Toulouse, Mus. Augustins) shows a white female nude massaged by a negress, and the subject attracted comment from contemporary critics. He also painted a number of landscapes, including Corner of the Vineyard (1888; Nantes, Mus. B.-A.). These were painted in a style similar to that of Jules Bastien-Lepage and, when they included figures, were often sentimental. His reputation depended, however, on his portraits, which are distinguished by their vigorous colour and precision, as seen in the portrait of Pouyer-Quertier (c. 1885; Rouen, Mus. B.-A.). Most notable was his portrait of General Boulanger (1887; untraced), which was shown at the Salon of 1887 and was accepted in 1889 for the Exposition Universelle in Paris. Amid scandal, Debat-Ponsan withdrew it soon after the opening because he thought that the Exposition was badly organized and his painting was not shown to advantage. He refused the bronze medal awarded it by the jury. In later years, while producing such paintings as Christ on the Mountain (1889; Toulouse, Mus. Augustins), he increasingly responded to contemporary events in his work.
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1625-30 devonshire collection, chatsworth