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 and Child (mk36) | Details of Fortitude (mk36) | Madonna of the Rose Garden or Madonna and Child with St john the Baptist (mk36) | Mystic Nativity | Discovery of the Body of Holofernes |
Related Artists:
ROSSELLINO, Bernardo
Italian sculptor Florentine school (b. 1409, Settignano, d. 1464, Firenze).Italian architect and sculptor. Influenced by Donatello, Filippo Brunelleschi, and Luca Della Robbia, he developed a moderately Classical style. His tomb for Leonardo Bruni (1444 C 50) in Santa Croce, Florence, was one of the greatest achievements of early Renaissance sculpture and inaugurated a new type of sepulchral monument. Its fine balance between sculpture and architecture, figure and decoration, made it the prototypical niche tomb of its time. He also designed the apse of St. Peter's Basilica and the cathedral and Piccolomini Palace in Pienza (1460 ?C 64). He presumably trained his brother Antonio (1427 ?C 79), who regularly assisted him.
Moore, Albert Joseph
English Classicist Painter, 1841-1893 He showed precocious artistic talent as a child and entered the Royal Academy Schools in London in 1858. His early work shows a Pre-Raphaelite influence common to his generation. The watercolour Study of an Ash Trunk (1857; Oxford, Ashmolean) is very Ruskinian in its precise handling of naturalistic detail. Moore made two visits abroad: in 1859 to France with the architect William Eden Nesfield and in the winter of 1862-3 to Rome with his brother John Collingham Moore. Elijah's Sacrifice (1863; exh. RA 1865; Bury St Edmunds, A.G.), one of Moore's earliest large-scale oil paintings, was executed while he was in Rome. Its biblical subject and sombre tone are typical of his output in the early 1860s and relate to the work of Ford Madox Brown and Edward Armitage.
Casilear John William
American Hudson River School Painter, 1811-1893 was an American landscape artist belonging to the Hudson River School. Casilear was born in New York City. His first professional training was under prominent New York engraver Peter Maverick in the 1820s, then with Asher Durand, himself an engraver at the time. Casilear and Durand became friends, and both worked as engravers in New York through the 1830s. By the middle 1830s Durand had become interested in landscape painting through his friendship with Thomas Cole. Durand, in turn, drew Casilear's attention to painting. By 1840 Casilear's interest in art was sufficiently strong to accompany Durand, John Frederick Kensett, and artist Thomas P. Rossiter on a European trip during which they sketched scenes, visited art museums, and fostered their interest in painting. Casilear gradually developed his talent in landscape art, painting in the style that was later to become known as the Hudson River School. By the middle 1850s he had entirely ceased his engraving career in favor of painting full-time. He was elected a full member of the National Academy of Design in 1851, having been an associate member since 1831