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 :. | Stories of Virginia | Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36) | Madonna del Magnificat (mk08) | St Sebastian (mk36) | Primavera |
Related Artists:
Cornelis de Man
(Delft, 1 July 1621 - Delft, 1 September 1706) was a Dutch Golden Age painter. Kornelis was not satisfied with life in Delft. He wanted to travel beyond the port of Dordrecht and that is what he did, spending a year in Paris as soon as he came of age and had enough talent to pay his way with his painting skills. He was well-received, but set off in the Spring for Lyon in order to cross Lombardia and the mountains before another winter set in. He settled for two years in Florence, where he had a rich patron, but stayed the longest in Rome. On the way back home he stopped in Venice, and in the end was gone for a total of nine years
Jean Mannheim
1863-1945
Aleksey Antropov
(Russian: 25 March [O.S. 14 March] 1716 - 23 June [O.S. 12 June] 1795) was a Russian barocco painter active primarily in St. Petersburg, where he was born and died. He also worked in Moscow and frescoed churches in Kiev. His preferred medium was oil, but he also painted miniatures and icons. Alexei was born to a family of government official working in Armory and in the Department of Building (kantselyatiya stroeniy). Since 1732 Alexei also working at the same department under his relative A. Matveyev, since 1739 he is a member of the painting team (zhivopisnaja komanda) of the Department under Ivan Vishnyakov. As the member of the team Alexei took part in fresoeing of Summer Palace, Winter Palace, Anichkov Palace and other buildings of Saint Petersburg. He also studied portrait art from the court painter Louis Caravaque of France. In 1749 Alexei received the rank of the Painter's apprentice (zhivopisniy podmasterye) and in the end of 1750ies the rank of the Master Painter (zhivopisniy master). In 1752-1755 he worked on the interiors of the St Andrew's Church of Kiev. He supervised the installation of the iconostasis, frescoed cupolas and walls. The most prominent of his frescoes in the church is the Last Supper in the altar. He started to paint portraits before his Kiev period. The earliest known portraits of his are portraits of Elizabeth of Russia. He did not met his model but based the paintings on the works of his teacher, Louis Caravaque. Unknown lady, 1760iesIn 1755-1757 he worked in Moscow frescoeing the Golovkin palace. Here he met prince Ivan Shuvalov who supported Antropov's works for the rest of his life. In 1757 - 1759 Antropov returned to Saint-Petersburg and learned art from court painter Pietro Rotari of Italy. Historians consider his portrait of A.M. Izmaylova to be a sort of a graduation work. The 1760ies were probably the most productive period of the artist. He painted many good portraits among the Portrait of Ataman Krasnoschekov, Portrait of Rumyantseva. Ivan Shuvalov planned to move him to Moscow, so Antropov could teach art the Moscow University. For some reason this plan was canceled and Antropov instead got the job at the Synod of the Russian Orthodox Church, there he supervised icon painting, decorating of the churches, drew the portraits of church hierarchs and supervised art students. Among his apprentices was Dmitry Levitzky, who actually lived in the house of his teacher. In 1762 Peter III of Russia became the new Emperor. Antropov soon became his favorite painter. For the six month of Peter III rule Antropov painted at least four of his portraits. After the palace revolt the new Emperess, Catherine II was of much lower opinion of the talents of Antropov. At that time the artists appreciated the soft combinations of colors and some sort of a fine flattering on the ceremonial portraits.