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 :. | Madonna dell'Eucarestia | Judith with the Head of Holofernes (mk36) | Details of Fortitude (mk36) | Our Lady of sub | Man in a short black tunic,standing on the right |
Related Artists:
Francesco Albani
(March 17 or August 17, 1578 COctober 4, 1660) was an Italian Baroque painter. Born at Bologna, his father was a silk merchant who intended to instruct his son in the same trade; but by age twelve, Albani became an apprentice under the competent mannerist painter Denis Calvaert, where he met Guido Reni. Soon he followed Reni to the so-called "Academy" run by the Carracci family: Annibale, Agostino, and Ludovico. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi, Pietro Faccini, Remigio Cantagallina, and Reni. In the year 1600, Albani moved to Rome to work in the fresco decoration of the gallery of the Palazzo Farnese, being completed by the studio of Annibale Carracci. Rome, under Clement VIII Aldobrandini (1592-1605) was exhibiting some degree of administrative stability and renewed artistic patronage. While pope Clement was born from a Florentine family residing in Urbino, his family was allied by marriage to the Emilia-Romagna and the Farnese, since Ranuccio I Farnese, Duke of Parma had married Margherita Aldobrandini. Parma, like Bologna, are part of the Region of Emilia-Romagna. Thus it was not surprise that Cardinal Odoarde Farnese, Ranuccio's brother, chose the Carraccis from Bologna for patronage, thereby establishing Bolognese predominance of Roman fresco painting for nearly two decades.
Edward Henry Corbould,RI,RWS
1815-1905 Painter, illustrator and sculptor, son of (2) Henry Corbould. A pupil of Henry Sass (1788-1844) and a student at the Royal Academy, he showed more wide-ranging interests than his father or uncle. He worked in watercolour and briefly in sculpture, winning gold medals for both from the Society of Arts (Fall of Phaeton, watercolour, 1834; St George and the Dragon, sculpture, exh. RA 1835; both untraced). He designed monumental figures for an unexecuted London County Council sculpture project for Blackfriars Bridge (1889), but he concentrated primarily on watercolours of literary and historical subjects, which he exhibited with the New Water-Colour Society from 1837 until 1898.
Jan de Bray
1627-1697 Dutch Painter, draughtsman and etcher, son of (1) Salomon de Bray. He spent virtually the whole of his career in Haarlem, except for the period 1686-8, when he lived in Amsterdam. After training with his father, Jan began working as a portrait painter in Haarlem in 1650, an activity he continued for the next 40 years. Between 1667 and 1684 he served on the committee for the Haarlem Guild of St Luke, whose leading members he portrayed in a picture dated 1675 (Amsterdam, Rijksmus.) that includes a self-portrait (Jan is seen standing and drawing on the left). He married three times, in 1668, 1670 and 1672. His first two wives died a year after their marriage, his third two years afterwards, and in each case the death was followed by disputes over the inheritance. Jan bankruptcy of 1689 may have been a result of one of the lawsuits. He was 62 at the time, and from then onwards he seems to have lost his artistic drive, crushed by the financial blow and the consequent loss of social position.