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 :. | Details of Primavera-Spring | Three miracles of St Zanobius (mk36) | Trials of Moses | And John son of Notre Dame | Portrait of youth |
Related Artists:
Anton Ritter von Stadler
painting Landschaft in 1909
jeremy collier
1650 C 1726, English clergyman. Collier was imprisoned as one of the nonjurors, who refused to pledge allegiance to William III and Mary II. He later was outlawed (1696) for absolving on the scaffold two of those involved in the assassination plot against William. Collier's principal fame comes from his Short View of the Immorality and Profaneness of the English Stage (1698) and Ecclesiastical History of Great Britain (1708, 1714). In 1713 he was ordained a nonjuring bishop.
Albert Goodwin,RWS
1845-1932 English painter. During the early 1860s Goodwin studied with Arthur Hughes and Ford Madox Brown, who predicted that his pupil would become 'one of the greatest landscape painters of the age'. Hughes and Brown impressed on Goodwin the Pre-Raphaelite principles of high finish, vivid colour and working directly from nature that inform his early landscape style