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 :. | Domenico Ghirlandaio | Primavera | Filippo Lippi.Madonna with Child and Angels or Uffizi Madonna (mk36) | Hans Memling,Man with a Medal (mk36) | The Birth of Venus |
Related Artists:
solana

Pierre etienne theodore rousseau
Paris 1812-Barbizon 1867 French painter of the Barbizon school, was born in Paris, of a bourgeois family which included one or two artists.At first he received a business training, but soon displayed aptitude for painting. Although his father regretted the decision at first, he became reconciled to his son leaving business, and throughout the artist's career (for he survived his son) was a sympathizer with him in all his conflicts with the Paris Salon authorities. Theodore Rousseau shared the difficulties of the romantic painters of 1830 in securing for their pictures a place in the annual Paris exhibition. The whole influence of the classically trained artists was against them, and not until 1848 was Rousseau adequately presented to the public. He had exhibited one or two unimportant works in the Salon of 1831 and 1834, but in 1836 his great work "La descente des vaches" was rejected by the vote of the classic painters; and from then until after the revolution of 1848 he was persistently refused. He was not without champions in the press, and under the title of "le grand refus" he became known through the writings of Thor, the critic who afterwards resided in England and wrote under the name of Burger. During these years of artistic exile Rousseau produced some of his finest pictures: "The Chestnut Avenue", "The Marsh in the Landes" (now in the Louvre), "Hoar-Frost" (now in America); and in 1851, after the reorganization of the Salon in 1848, he exhibited his masterpiece, "The Edge of the Forest" (also in the Louvre), a picture similar in treatment to, but slightly varied in subject from, the composition called "A Glade in the Forest of Fontainebleau", in the Wallace Collection at Hertford House, London. Up to this period Rousseau had lived only occasionally at Barbizon, but in 1848 he took up his residence in the forest village, and spent most of his remaining days in the vicinity. He was now at the height of his artistic power, and was able to obtain fair sums for his pictures (but only about one-tenth of their value thirty years after his death), and his circle of admirers increased. He was still ignored by the authorities, for while Narcisse Virgilio Diaz was made Chevalier of the Legion of Honour in 1851, Rousseau was left undecorated at this time, but was nominated shortly afterwards. At the Exposition Universelle of 1853, where all Rousseau's rejected pictures of the previous twenty years were gathered together, his works were acknowledged to form one of the finest of the many splendid groups there exhibited. But during his lifetime Rousseau never really conquered French taste, and after an unsuccessful sale of his works by auction in 1861,
Naldini, Giovanni Battista
Italian, 1537-91 was an Italian painter of a late-Mannerism in Florence. His first apprenticeship (1549-57) was in the studio of Jacopo Pontormo. He went from Rome for a number of months following 1560, and was recruited to work for Giorgio Vasari in 1562. He painted two crowded, mannerist canvas for the Studiolo of Francesco I in the Palazzo Vecchio: the Allegory of Dreams and the Gathering of Ambergris. He supplied altarpieces to Santa Maria Novella and Santa Croce. He painted an altarpiece of Calling of Saint Matthew for the Salviati Chapel in San Marco, where he worked alongside Francesco Morandini. Ultimately, he is aptly described by Freedberg as displaying work distantly derivative from the style of Andrea del Sarto, as expressed by Naldini's two mentors and Sarto's two pupils: Pontormo and Vasari.