Madonna and Child with John the Baptist and two angels. Sandro Botticelli - biography and paintings of the artist in the Early Renaissance genre - Art Challenge Sandro Botticelli description of the Madonna and Child

Future artist lived and was raised in a patriarchal, deeply religious family,
which left an imprint on his entire subsequent life.

Altar of St. Barnabas

Madonna with a book

Madonna and Child (of the Magnificat) 1480-1481, tempera on panel gallery
Uffizi, Florence, Italy

The early Madonnas radiate an enlightened meekness generated by the harmony of feelings.

Madonna with Pomegranate (Madonna della Melagrana) 1487g, tempera on panel,
Uffizi Gallery, Florence, Italy

Madonna and Child and 8 Angels 1478, tempera on panel,
State capital museum, Berlin, Germany

Madonna under the canopy (del Padiglione) 1493g, tempera on panel,
Pinacoteca Ambrosiano, Milan, Italy

Madonna and Child and Angel 1465-67, tempera on panel,
Gallery of the Orphanage (dello Spedale degli Innocenti), Florence, Italy

Madonna and Child and Angel 1468,
tempera on panel, Norton Simon Museum, Pasadena, California, USA

Madonna by the Sea 1470-75, tempera on panel,
Gallery of the Academy (dell "Accademia), Florence, Italy

Madonna in the Rose Garden (Madonna Rosengarden) 1469-1470,
tempera on wood, Uffizi Gallery, Florence, Italy

Madonna and Child and Angel Madonna of the Communion (Eucharist or Chigi Madonna)1470,
tempera on panel, Isabella Stewart Gardner Museum, Boston, USA

Madonna and Child, two angels and young John the Baptist 1465-1470,
tempera on panel, Galleria dell'Accademia, Florence, Italy

Madonna and Child and two angels 1469-70, tempera on panel,
Capodimonte Museum, Naples, Italy

Madonna and Child with John the Baptist 1470-1475, tempera on panel,
Louvre, Paris, France "Madonna and Child and John the Baptist"
refers to the heyday of creativity, the time when the artist worked at the court of the powerful Medici family.
The painting was painted between the 70-75s of the 15th century.
Everything in this work radiates an enlightened meekness, generated by the harmony of feeling and design.

Madonna and Child surrounded by five angels 1470, tempera on panel, Louvre, Paris, France
In this early picture one senses strong influence Filippo Lippi (1406-1469),
with whom Botticelli studied

Madonna with a Book (Libro Madonna) 1483, tempera on panel, Poldi Pezzoli Museum, Milan, Italy

Madonna and Child with John the Baptist c.1490-1495, tempera on canvas Palatina Gallery (Pitti Palace), Florence, Italy

Adoration of the Child 1480-1490, tempera on panel, National Gallery of Art, Washington, USA

Madonna of the Sea
Academic Gallery. Florence.

In the images of later Madonnas, created under the influence of Savonarola’s ascetic sermons, the sad and disappointed artist moves away from the desire to find the embodiment of eternal beauty. The Madonna's face in his paintings becomes bloodless and pale, her eyes full of tears. These faces can still be compared with medieval images of the Mother of God, but they do not have the solemn grandeur of the Queen of Heaven. Rather, these are women of modern times who have experienced and experienced a lot.

Madonna and Child with an Angel - Sandro Botticelli. 1465-1467. Tempera, wood. 87 x 60 cm

The composition with the stepped diagonal placement of the characters gives this static group a little liveliness, which is most reflected in the figure of the angel. Supporting the infant Christ, he sits with his back to the viewer, but turns in such a way as if someone called him outside the picture. He has a gentle and youthful face, lush, reddish, curly hair and a spectacular airy outfit, all in complex folds, frills and multi-layered details. Angelic rank Only small, almost imperceptible wings behind the back and a halo above the head in the form of a flat golden disk give it away.

The opposite part of the picture, standing out for its larger size and rich colors of clothing, is occupied by the figure of the Virgin Mary. She is depicted in three quarters, almost in profile, striking the audience with her pale, at the same time spiritual and very sad face. With sadness she looks at her lovely child, foreseeing his difficult fate and cruel death on the cross for the sins of mankind.

Madonna is wearing a red dress with slit sleeves according to the Italian fashion of that time. On top it is covered with a voluminous black cloak or cape with a wide stripe along the edge and a spectacular trim at the top. The strict, smooth hairstyle is decorated with a small cap with soft folds covering the neck and falling to the same thin neck scarf. Madonna has very thin arched eyebrows-threads and light, reddish hair. All this takes us to the fashion of Italy during the Renaissance, but not in Judea at the beginning of the 1st century AD. In those days, artists often dressed up their historical or mythological heroes in clothes that were modern to them.

The plump baby Christ - a charming child covered with light folded fabric - stretches out his arms to his mother. His divine essence is revealed only by his halo. The mother, sitting in a beautiful carved chair, seems to be receiving him from the hands of an angel supporting him.

The picture is completed by one of the elements often used by the master - a large stone arch with columns supporting it in the background. There is no landscape behind it, only the bottomless blue sky.

The image is distinguished by a special lyrical atmosphere, a slight touch of sadness and a warm color scheme. The faces of the characters here are not just very expressive - they are recognizable, although they have individuality. Based on their features, one can unmistakably determine that this is a painting that undoubtedly belongs to the brush of the talented Sandro Botticelli.

Sandro Botticelli is an outstanding representative of Florentine painting of the Quattrocento era. After his death, the master went into oblivion. This continued until mid-19th century, when the public regained interest in his work and biography. The name Sandro Botticelli comes to mind among both ordinary people and specialists one of the first when it comes to the art of the early Renaissance.

Childhood and youth

An interesting fact that not everyone knows: Botticelli is not real name artist. As a child, his name was Alessandro di Mariano di Vanni Filipepi. On March 1, 1445, Mariano was born into the family of a Florentine tanner. younger son- Sandro. In addition to him, his parents had three eldest sons: Giovanni and Simone, who devoted themselves to trade, and Antonio, who chose jewelry craft.

There is no consensus on the origin of the painter's surname. The first theory links Botticelli's nickname to trading activities the artist’s two older brothers (“botticelle” translates as barrel). Supporters of another theory also believe that Sandro got the nickname from his brother Giovanni, but for a different reason: he was a fat man. Other researchers claim that new surname passed to Botticelli from another brother, Antonio (“battigello” - “silversmith”).

In his youth, Sandro was a jeweler's apprentice for 2 years. But in 1462 (or in 1464 - the opinions of researchers differ) he entered the art workshop of Fra Filippo Lippi. When the latter left Florence in 1467, Andrea Verrocchio became the mentor of the future genius. By the way, he studied in Verrocchio’s workshop at the same time as Botticelli. Two years later, in 1469, Sandro began independent work.

Painting

The exact dates of painting of most of the artist’s paintings are not known. Experts have determined approximate dates based on stylistic analysis. The work that went down in history as the first and entirely by Botticelli is “Allegory of Power.” Written in 1470, it was intended for the hall of the Florentine Commercial Court. Now it is an exhibit of the Uffizi Gallery.

The artist's first independent works also include numerous images. The most famous is the Madonna of the Eucharist, painted around 1470. During the same period, Botticelli opened his own workshop. His son former mentor– Filippino Lippi – becomes Sandro’s student.

After 1470, the features of the master’s style became more and more apparent: a bright palette, rendering of skin tones using rich ocher shadows. Botticelli's achievement as a painter is the ability to vividly and succinctly reveal the drama of a plot, endowing images with expression, feelings and movement. This was clearly manifested already in the early (1470-1472) diptych about the Old Testament feat that beheaded the Assyrian invader Holofernes.

Botticelli's first depiction of a nude body is the painting “Saint Sebastian”. On the day of the holy martyr, January 20, 1474, she was solemnly presented to the inhabitants of the city. The vertical canvas was hung on a column of the Church of Santa Maria Maggiore.

In the mid-1470s, Sandro turned to the portrait genre visual arts. During this period, the “Portrait of an Unknown Man with a Cosimo de’ Medici Medal” appeared. It is not known for certain who the young man depicted in the painting of 1474-1475 was. There is an assumption that this is a self-portrait. Some researchers believe that the artist’s model was Antonio’s brother, others believe that the painting depicts the author of the medal himself or a representative of the Medici family.

The painter became close to this powerful Florentine family and their entourage in the 70s. On January 28, 1475, Giuliano Medici, brother of the head of the Florentine Republic, participated in a tournament with a standard, the painting of which was worked by Botticelli. Around 1478, the artist painted a portrait of Giuliano himself.

On the famous canvas “Adoration of the Magi” the Medici family is depicted almost in in full force along with his retinue. Botticelli was also part of it, whose figure can be seen in the right corner.

On April 26, 1478, as a result of a failed conspiracy against the Medici, Giuliano was killed. Commissioned by the surviving Lorenzo, the artist painted a fresco above the gate leading to the Palazzo Vecchio. Botticelli's depiction of the hanged conspirators did not last even 20 years. After the expulsion of the less fortunate ruler Piero de' Medici from Florence, it was destroyed.

By the end of the 1470s, the painter became popular outside of Tuscany. Pope Sixtus IV wished to see Sandro in charge of painting the walls of the newly built chapel. In 1481, Botticelli arrived in Rome and, together with other artists, began work on frescoes. He painted three, including “The Temptation of Christ,” as well as 11 portraits of popes. After 30 years the ceiling Sistine Chapel will paint it, and it will become famous throughout the world.

After returning from the Vatican, in the first half of the 1480s, Botticelli created his main masterpieces. They are inspired ancient culture and the philosophy of humanists, followers of Neoplatonism, with whom the artist became close during that period. "Spring", written in 1482, is the most mysterious work author, which still does not have a clear interpretation. It is believed that the artist created the painting inspired by the poem “On the Nature of Things” by Lucretius, namely the passage:

“Here comes Spring, and Venus is coming, and Venus is winged

The messenger is coming ahead, and, after Zephyr, in front of them

Flora the Mother walks and, scattering flowers along the path,

Fills everything with colors and a sweet smell...

The winds, goddess, run before you; with your approach

The clouds are leaving the heavens, the earth is a lush master

A flower carpet is spreading, the sea waves are smiling,

And the azure sky shines with spilled light"

This painting, like two other pearls of this period - the canvases “Pallas and the Centaur” and “The Birth of Venus”, was owned by Lorenzo di Pierfrancesco Medici, the second cousin of the Duke of Florence. Characterizing these three works, researchers note the melodiousness and plasticity of the lines, the musicality of color, the sense of rhythm and harmony, expressed in subtle nuances.

In the late 1470s - early 1480s, Botticelli worked on illustrations for " Divine Comedy". Few of the series of pen drawings on parchment have survived, among them “The Abyss of Hell.” Among the works on a religious theme of this period, the Madonna and Child Enthroned (1484), the Annunciation of Cestello (1484-1490), the Madonna Magnificat tondo (1481-1485) and the Madonna with a Pomegranate (c. 1487) are distinguished. .

In 1490-1500, Botticelli was influenced by the teachings of the Dominican monk Girolamo Savonarola, who criticized the church orders of the time and excesses social life. Imbued with calls for asceticism and repentance, Sandro began to use darker and more restrained shades.

Landscapes and interior elements disappeared from portrait backgrounds, as can be seen in the “Portrait of Dante” (c. 1495). Painted around 1490, “Judith Leaving the Tent of Holofernes” and “Lamentation of Christ” are typical works of the painter for that time.

Savonarola's accusation of heresy and execution in 1498, and even earlier, the death of Lorenzo de' Medici and the subsequent political unrest in Tuscany, shocked Botticelli. Mysticism and gloominess have increased in creativity. "Mystical Christmas" 1500 - main monument this period and the last meaningful work artist.

Personal life

Little is known about Botticelli's personal life. The artist did not have a wife or children. A number of researchers believe that Sandro was in love with Simonetta Vespucci, the first beauty of Florence and the lady of the heart of Giuliano Medici.

She served as a model for many of the artist’s paintings. Simonetta died in 1476 at the age of 23.

Death

In the last 4.5 years of his life, Botticelli did not write and lived in poverty. The great master of the Quattrocento era was buried in the cemetery of the Florentine Church of Ognisanti on May 17, 1510.

Works

• OK. 1470 - "Allegory of Power"
• OK. 1470 - "Adoration of the Magi"
• c.1470 - “Madonna of the Eucharist”
• 1474 - “Saint Sebastian”
• 1474-1475 - “Portrait of an unknown person with a medal of Cosimo de’ Medici”
• OK. 1475 - “Portrait of Giuliano de’ Medici”
• 1481-1485 - “Madonna Magnificat”
• OK. 1482 - "Spring"
• 1482-1483 - “Pallas and Centaur”
• OK. 1485 - "Venus and Mars"
• OK. 1485 - "Birth of Venus"
• OK. 1487 - “Madonna of the Pomegranate”
• OK. 1490 - “Lamentation of Christ”
• OK. 1495 - "Slander"
• OK. 1495 - “Portrait of Dante”
• 1495-1500 - “Judith leaving the tent of Holofernes”
• 1500 - "Mystical Christmas"

Madonna and Child - Sandro Botticelli. Around 1467. Panel, tempera. 51 x 71 cm

You should start with the unusual color of the canvas. Unlike most of his paintings, which are characterized by a rich, but somewhat muted, delicate and delicate color scheme, this one is characterized by incredibly saturated predominant blue tones. The spectacular architectural forms in the background in the form of a wide rounded arch with an opening are painted in white and a slightly turquoise shade of blue.

The cloak of the Mother of God has a more saturated color. It creates a kind of lower frame of the canvas, while the arch becomes the frame for the most delicate family portrait.

It’s not just the intense blue color that’s surprising in this painting. Madonna's face is very delicate, porcelain-pale, with beautiful, but slightly irregular features. One gets the distinct impression that it was painted from life and reflects the appearance of a real-life woman - there is no stylization of the image characteristic of the recognizable faces of the characters in Botticelli’s paintings.

The blond Madonna attracts attention not only with her porcelain, delicate skin, but also with her unusual hairstyle, decorated with rich trimmings and frills made of light fabric, like on a cap. The lightest veil, transparent, airy and barely noticeable, falls onto the woman’s shoulders. Madonna is dressed in a red underdress with many folds and gathers. Here the artist did not deviate one iota from the canons - according to church rules The Mother of God is always depicted in clothes that combine red and blue shades. Baby Christ is dressed in a snow-white toga wrapped around his plump, tender little body.

In the background one can see a landscape, as if framed by the outlines of a powerful arch. It is quite traditional for paintings of this period. The landscape depicts a rather tall, lonely tree on the edge of a cliff and a fantastic castle with thin towers stretching upward with very long spiers. The landscape is executed in a very restrained and noble muted tone. color scheme, which includes green and brown shades. Thanks to the modest choice of tones, this image does not compete with the intense colors of the foregrounds, especially the blue chiton of Our Lady.

But the interpretation of the image of the Madonna and the Child Christ is of particular interest. In most paintings on this topic, both characters have rigid static poses, and the child looks unnatural, like a miniature copy of an adult. In the same picture, we see a young, charming mother playing with her baby, who lovingly stretches out his chubby little hands to her. The touching gesture - Madonna's hand gently touching the baby's chubby cheek - makes this picture very lively, natural and unusually impressive.

Sandro Botticelli (1445-1510) is one of the most outstanding Florentine artists who worked during the Early Renaissance. The nickname Botticelli, which translated into Russian means barrel, originally belonged to the artist’s older brother Giovanni, who had a large physique. The real name of the painter is Alessandro Filipepi.

Childhood, adolescence and learning skills

Botticelli was born into a tanner's family. The first mention of him was discovered 13 years after the boy was born, in 1458. Young Botticelli was extremely sickly child, however, he made every effort to learn to read. Around the same period, Sandro began working part-time in the workshop of his other brother Antonio.

Botticelli was not destined to engage in the craft, and he realized this after some time as an apprentice. In the early 60s of the 15th century, Sandro began studying with one of greatest artists of that era - Fra Filippo Lippi. The master's style affected the young Botticelli, which later manifested itself in early works artist.

Already in 1467, the young Florentine artist opened a workshop, and among his first works were “Madonna with Children and Two Angels”, “Madonna of the Eucharist” and some other paintings.

The beginning of an independent creative path

Sandro completed his first project already in 1470, and his work was intended for the courtroom. Things went very well for Botticelli, and he soon became a sought-after master, whose fame gradually began to reach the royal palace.

Botticelli created his first masterpiece in 1475. It was a painting called “The Adoration of the Magi.” The customer was a fairly wealthy and influential banker with connections to the then rulers of the city, with whom he introduced the talented guy. Since then the creator has been close to ruling family Medici and carried out orders specifically for them. The main works of this period can be called the paintings “Spring” and “Birth of Venus”.

Invitation to Rome and peak of glory

Rumors about a young, but very talented artist quickly spread all the way to Rome, where he was called by Pope Sixtus IV in the early 80s. Botticelli was commissioned in collaboration with others famous personalities of his time to carry out the design of a recently erected structure, known to this day - the Sistine Chapel. Sandro took part in the creation of several famous frescoes, which included “The Youth of Moses” and “The Temptation of Christ.”

Already in next year Botticelli returned to his native Florence, the likely reason for which was the death of his father. Although at the same time he was literally overloaded with orders in his hometown.

In the mid-80s of the 15th century, Botticelli was at the peak of his fame: there were so many orders that the artist simply did not have time to paint all the paintings on his own. Most the work was carried out by students of the outstanding creator, and Botticelli himself was engaged only in creating the most complex elements compositions. Among the most famous works The artist’s works, which were created by him in the 80s, include “The Annunciation”, “Venus and Mars” and “Magnificat Madonna”.

Later creativity

Serious trials in life befell the creator in the 90s, when he lost his beloved brother, from whom he received such a funny nickname. A little later, the artist began to doubt whether all his activities were justified.

This all coincided with extreme important events which led to the overthrow of the Medici dynasty. Savonarola came to power, fiercely criticizing the wastefulness and corruption of the previous rulers. He was also dissatisfied with the papacy. The power of this ruler was ensured by popular support, Botticelli also went over to his side, but Savonarola’s rule did not last long: after just a few years he was overthrown from the throne and burned alive at the stake.

The sad events deeply wounded the painter. Many at that time said that Botticelli was one of the “converts,” as could be judged by the creator’s latest works. It was this decade that became decisive in the artist’s life.

Last years of life and death

In the last 10-12 years of his life, the fame of the great painter began to gradually fade away and Botticelli could only remember his former popularity. Contemporaries who found him last years life, they wrote about him that he was completely poor, walked on crutches and no one cared about him in the slightest. Last works Botticelli, among whom was “ Mystical Christmas» 1500, were not popular, and no one approached him about ordering new paintings. Another indicative case was when the then queen, when choosing artists to fulfill her order, in every possible way rejected Botticelli’s proposals.

Died once famous painter in 1510, completely alone and poor. He was buried in a cemetery near one of the Florentine churches. Along with the creator himself, the fame of him completely died, which was revived only in the final decades of the 19th century.

There are several paintings that people associate with the Renaissance. These paintings are world famous and have become real symbols of that time. To paint most of the paintings, artists invited people whose names have not reached us as sitters. They simply looked like the characters the artist needed and that’s all. And therefore, no matter how interested we are in their fate, now practically nothing is known about them.

Sandro Botticelli and his "Venus", Simonetta Vespucci

An example of this is the famous painting by Michelangelo that adorns the ceiling of the Sistine Chapel, “The Creation of Adam,” or the creation of the same author, the statue of David. Now it is no longer known who served as the model for the creation of these works.

The same is with the famous painting by Leonardo da Vinci “Mona Lisa”. There are now many rumors that the subject of the painting was Lisa Gherardini, but there is more doubt than certainty about this version. And the very mystery of the picture is more likely connected with the personality of Leonard da Vinci rather than with his model.

However, against the backdrop of all this uncertainty, the history of creation famous painting Sandro Botticelli's "Birth of Venus" and the model that served as the prototype for Venus are quite clear. She was Simonetta Vespucci, a universally recognized beauty of that era. Unfortunately, the painting was not painted from life, because by that time Botticelli’s muse was already dead.

Botticelli was born in Florence and all his life he was patronized by the most influential family in the city at that time - the Medici. Simonetta also lived in the same city, her maiden name there was Cattaneo, she was the daughter of a Genoese nobleman. Simonetta, at the age of sixteen, married Marco Vespucci, who fell madly in love with her and was well received by her parents.

All the men in the city went crazy with beauty and good character Simonetta, even the brothers Giuliano and Lorenzo de' Medici fell under her charm. Simonetta was proposed as a model for the artist Sandro Botticelli by the Vespucci family itself. For Botticelli this became a fatal meeting, he fell in love with his model at first sight, she became his muse. At the same time, at the knightly tournament held in 1475, Giuliano de' Medici performed with a flag on which Botticelli's hand also depicted a portrait of Simonetta with an inscription on French, meaning “Incomparable.” After his victory in this tournament, Simonetta was declared the “Queen of Beauty”, and her fame as the most beautiful woman in Florence spread throughout Europe.

And as mentioned above, unfortunately Simonetta died soon after, in 1476 at the age of only 23, presumably from tuberculosis. Botticelli was never able to forget her and lived alone all his life; he died in 1510.

Without a doubt, the artist respected Simonetta's marriage and did not show his love in any way, except by painting many paintings with her image. So on famous painting“Venus and Mars” he portrayed characters whose resemblance to Simonetta and the author himself in the role of Mars is not questioned by anyone.

And in 1485 Botticelli wrote famous painting“The Birth of Venus,” which he dedicated to the memory of his beloved, nine years after her death. Botticelli's love was so great that he asked to be buried in the tomb where Simonetta Vespucci was buried, “at the feet” of her burial.

It is known that Botticelli wrote more than 150 works, but most of them were destroyed by representatives catholic church, who accused the work of paganism and secularism. The Birth of Venus was miraculously saved, rumored to have been protected by Lorenzo de' Medici in memory of his brother and love for Simonetta.