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The masterworks ''[[Primavera (painting)|Primavera]]'' (c. 1482) and ''[[The Birth of Venus (Botticelli)|The Birth of Venus]]'' (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the ''Primavera'' was painted for Lorenzo's townhouse in Florence, and ''The Birth of Venus'' was commissioned by someone else for a different site. By 1499, both had been installed at Castello.<ref>Smith, Webster: ''On the Original Location of the Primavera''.</ref>
The masterworks ''[[Primavera (painting)|Primavera]]'' (c. 1482) and ''[[The Birth of Venus (Botticelli)|The Birth of Venus]]'' (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the ''Primavera'' was painted for Lorenzo's townhouse in Florence, and ''The Birth of Venus'' was commissioned by someone else for a different site. By 1499, both had been installed at Castello.<ref>Smith, Webster: ''On the Original Location of the Primavera''.</ref>


In these works, the influence of [[Gothic art|Gothic]] realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by [[John Ruskin]] as possessing linear rhythm, there can be no doubt.
In these works, the influence of [[Gothic art|Gothic]] realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by [[John Ruskin]] as possessing linear rhythm, there can be no doubt. It kind of looks like the guy from Willy Wonka.


==Maturity and later life==
==Maturity and later life==

Revision as of 19:15, 8 December 2010

"Botticelli" redirects here. For the game, see Botticelli (game).
Sandro Botticelli
Probable self-portrait of Botticelli, in his Adoration of the Magi. Uffizi, Florence.
Born
Alessandro di Mariano Filipepi
NationalityItalian
EducationFilippo Lippi
Andrea del Verrocchio
Known forPainting
Notable workPrimavera
The Birth of Venus
The Adoration of the Magi
MovementItalian Renaissance

Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli or Il Botticello "The Little Barrel"; (c. 1445[1] – May 17, 1510) was an Italian painter of the Florentine school during the Early Renaissance (Quattrocento). Less than a hundred years later, this movement, under the patronage of Lorenzo de' Medici, was characterized by Giorgio Vasari as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. His posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting. Among his best known works are The Birth of Venus and Primavera.

Early life

Federico Montefeltro with humanist writer Cristoforo Landino (right), in an example of Oriental carpets in Renaissance painting, by Sandro Botticelli, circa 1460.

Details of Botticelli's life are sparse, but we know that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than did other Renaissance artists. He was born in the city of Florence in a house in the Via Nueva, Borg' Ognissanti. Vasari reported that he was initially trained as a goldsmith by his brother Antonio.[2] Probably by 1462 he was apprenticed to Fra Filippo Lippi;[3] many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner. As recently discovered, during this time, Botticelli could have traveled to Hungary, participating in the creation of a fresco in Esztergom, ordered in the workshop of Fra Filippo Lippi by Vitéz János, then archbishop of Hungary.

By 1470 Botticelli had his own workshop. Even at this early date his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms.

Masterworks

The masterworks Primavera (c. 1482) and The Birth of Venus (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the Primavera was painted for Lorenzo's townhouse in Florence, and The Birth of Venus was commissioned by someone else for a different site. By 1499, both had been installed at Castello.[4]

In these works, the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by John Ruskin as possessing linear rhythm, there can be no doubt. It kind of looks like the guy from Willy Wonka.

Maturity and later life

Primavera (c. 1482): icon of the springtime renewal of the Florentine Renaissance, also at the summer palazzo of Pierfrancesco de' Medici, as a companion piece to the Birth of Venus and Pallas and the Centaur. Left to right: Mercury, the Three Graces, Venus, Flora, Chloris, Zephyrus.

The Adoration of the Magi for Santa Maria Novella (c. 1475-1476, now at the Uffizi) contains the portraits of Cosimo de' Medici ("the finest of all that are now extant for its life and vigour"),[5] his grandson Giuliano de' Medici, and Cosimo's son Giovanni. The quality of the scene was hailed by Vasari as one of Botticelli's pinnacles.

In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution was moderately successful. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist.

In the mid-1480s Botticelli worked on a major fresco cycle with Perugino, Ghirlandaio, and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches.

In 1491 Botticelli served on a committee to decide upon a facade for the Florence Duomo.

Venus and Mars, 1483

Influence of Savonarola

In later life, Botticelli was one of Savonarola's followers, though the full extent of Savonarola's influence is uncertain.[6]

"Botticelli may have seen his own paintings fed to the flames - but in these strange times the artist might not have objected - like much of Florence, Botticelli had come under the sway of Savonarola and his art had transformed from the decorative to the deeply devout - The Mystic Nativity [for example] bears all the signs of this change [7]

"The story that he burnt his own paintings on pagan themes in the notorious "Bonfire of the Vanities" is not told by Vasari, who nevertheless asserts that of the sect of Savonarola "he was so ardent a partisan that he was thereby induced to desert his painting, and, having no income to live on, fell into very great distress. For this reason, persisting in his attachement to that party, and becoming a Piagnone[8] he abandoned his work." Botticelli biographer Ernst Steinmann searched for the artist's psychological development through his Madonnas. In the "deepening of insight and expression in the rendering of Mary's physiognomy", Steinmann discerned proof of Savonarola's influence over Botticelli. (In Steinmann's work the dates of a number of Madonnas were placed at a later point in the artist's life). Steinmann disagreed with Vasari's assertion that Botticelli produced nothing after coming under the influence of Girolamo Savonarola believing rather that the spiritual and emotional Virgins painted by Sandro followed directly from the teachings of the Dominican monk.

Death and posthumous eclipse

Botticelli was already little employed in 1502. In 1504 he was a member of the committee appointed to decide where Michelangelo's David would be placed. His later work, especially as seen in a series on the life of St. Zenobius, witnessed a diminution of scale, expressively distorted figures, and a non-naturalistic use of colour reminiscent of the work of Fra Angelico nearly a century earlier.

After his death his reputation was eclipsed longer and more thoroughly than that of any other major European artist. His paintings remained in the churches and villas[9] for which they had been created, his frescoes in the Sistine Chapel upstaged by Michelangelo's. British collector William Young Ottley, however, had brought Botticelli's The Mystical Nativity to London with him in 1799 after buying it in Italy. After Ottley's death its next purchaser, William Fuller-Maitland of Stansted, allowed it to be exhibited in a major art exhibition held in Manchester in 1857, The Art Treasures Exhibition,[10] where amongst many other art works it was viewed by more than a million people. The first nineteenth century art historian to have looked with satisfaction at Botticelli's Sistine frescoes was Alexis-François Rio. Rio, Anna Brownell Jameson and Charles Eastlake were alerted to Botticelli, works by his hand began to appear in German collections, and the Pre-Raphaelite Brotherhood incorporated elements of his work into their own.[11] Walter Pater created a literary picture of Botticelli, who was then taken up by the Aesthetic movement. The first monograph on the artist was published in 1893; then, between 1900 and 1920 more books were written on Botticelli than any other painter.[12]

Private life

Botticelli never wed, and expressed a strong aversion to the idea of marriage, a prospect he claimed gave him nightmares.[13]

The Birth of Venus, 1486. Uffizi, Florence.

The popular view is that he suffered from unrequited love for Simonetta Vespucci, a married noblewoman. According to legend, she had served as the model for The Birth of Venus and recurs throughout his paintings, despite the fact that she had died years earlier, in 1476. Botticelli asked that when he die he be buried at her feet in the Church of Ognissanti in Florence. His wish was carried out when he died some 34 years later, in 1510.

Some modern historians have also examined other aspects of his sexuality. In 1938, Jacques Mesnil discovered a summary of a charge in the Florentine Archives for November 16, 1502 which read simply, "Botticelli keeps a boy"; under an accusation of sodomy. The painter would then have been fifty-eight; the charges were eventually dropped. Mesnil dismissed it as a customary slander by which partisans and adversaries of Savonarola abused each other. Opinion remains divided on whether this is evidence of homosexuality.[14] Many have firmly backed Mesnil,[15] but others have cautioned against hasty dismissal of the charge.[16] Yet while speculating on the subject of his paintings, Mesnil nevertheless concluded "woman was not the only object of his love".[17]

Anthology of works

Main article: List of works by Sandro Botticelli

See also

Notes

  1. ^ a b Patrick, Renaissance and Reformation vol 1, 2007. Other sources give 1446, 1447 or 1444–45.
  2. ^ According to Vasari, he was still in school in February of 1458; an able pupil, he easily grew restless, and was initially apprenticed as a goldsmith. Lightbown, p. 19.
  3. ^ Lightbown, p. 20.
  4. ^ Smith, Webster: On the Original Location of the Primavera.
  5. ^ Vasari, Lives
  6. ^ Lightbown, pages 238-253; Return of a Forgotten Master, TIME
  7. ^ The Private Life of a Christmas Masterpiece The Mystic Nativity BBC TV 2009
  8. ^ A "Weeper" or "Mourner", as the repentant followers of Savonarola were called. (Vasari text on-line).
  9. ^ Primavera and The Birth of Venus remained in the Grand Ducal Medici villa of Castello until 1815. (Levey 1960:292
  10. ^ http://thebulletin.us/articles/2010/09/11/arts_culture/smart_about_art/doc4c8bad3bb9b0a708938915.txt
  11. ^ Pre-Raphaelite Art in the Victoria & Albert Museum, Suzanne Fagence Cooper, p.95-96 ISBN 1-85177-394-0
  12. ^ This section is based on Michael Levey, "Botticelli and Nineteenth-Century England" Journal of the Warburg and Courtauld Institutes 23.3/4 (July 1960:291-306).
  13. ^ Ronald Lightbrown, Sandro Botticelli: Life and Work, New York, 1989
  14. ^ Louis Crompton, Homosexuality and Civilization, Harvard University, 2003
  15. ^ Michael Rocke, Forbidden Friendships: Homosexuality and Male culture in Renaissance Florence, Oxford University Press, 1996
  16. ^ Andre Chastel, Art et humanisme a Florence au temps de Laurent le Magnifique, Presses Universitaires de France, 1959
  17. ^ Jacques Mesnil, Botticelli, Paris, 1938

References

  • Knackfuss H., Monographs On Artists, VI. Botticelli by Ernst Steinman, Translated by Campbell Dodgson, New York, Lemcke & Huachner, 1901, Pg. 112.
  • New York Times, Life of Botticelli, November 19, 1904, Page BR783.
  • Da Vinci Declassified, 2006 TLC documentary
  • Ullman, H., Sandro Botticelli, 1893
  • Yashiro, Y., Sandro Botticelli and the Florentine Renaissance, 1929
  • Lightbown, R., Sandro Botticelli: Life and Work, 1989
  • The New Encyclopædia Britannica, Macropaedia, Volume 2, 1991, Page 413-14.
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