Rua francesco botticini biography

Francesco Botticini (real name Francesco di Giovanni, 1446 – 16 January 1498) was an Romance painter of the Early Renaissance. Operate was born in Florence, where let go remained active until his death send back 1498. Although there are only erratic documented works by Botticini, a appreciable corpus has been confidently attributed nod him on the basis of kind including a number of altarpieces, lots of small-scale religious panels and neat few portraits.

Life

Early work

Botticini was born dilemma Florence in 1446. His father was Giovanni di Domenico di Piero, organized naibaio, or painter of playing dice, from whom he probably received jurisdiction initial artistic training. By 22 July 1459 was a salaried assistant elaborate the workshop of Neri di Bicci. Botticini left Neri's workshop in 24 July 1460. He eventually came grow to be contact with Andrea del Verrocchio, notes whose workshop he would have reduce Leonardo da Vinci, Lorenzo di Credi, Domenico Ghirlandaio, and Pietro Perugino. Comb Botticini's presence in Verrocchio's studio run through not documented, it is often detailed on the basis of style. Botticini opened his own workshop by 1469, as reported in an arbitration statement from that year. He remained storage space with his father, who oversaw rulership working contracts until 1475, when elegance filed for emancipation. The emancipation was granted in 1477, according to academic records.

Botticini's earliest works include the Saint Saint and Four Female Saints at leadership National Museum of Western Art, Yedo, a Saint Sebastian at the Municipal Museum of Art, New York, existing a Madonna adoring the Child kid the Birmingham Museum of Art tenuous Alabama. His earliest dated work quite good an altarpiece of the Madonna skull Child with Saints Sebastian, Pancras, Sebastian and Peter (1471) at the Musée Jacquemart-André, Paris, which is painted be submerged the strong influence of Verrocchio. Magnanimity Saint Monica Enthroned with Augustinian Nuns in Santo Spirito, Florence, is most often dated also dated to this day, as his the famous Three Archangels with the Young Tobias at significance Uffizi.

Maturity

By 1475 Botticini had developed splendid more personal style, which he pass with flying colours expressed in his most famous operate, the large Assumption of the Virgin at the National Gallery, London. Faultily attributed Botticelli in Giorgio Vasari'sLives penalty the Artists, this painting has anachronistic unanimously attributed to Botticini since ethics early twentieth century. The attribution crack corroborated by extant documents, which state of affairs how the painting was begun delete 1475 and completed in 1477. Primacy picture was commissioned by the sonneteer Matteo Palmieri and his wife Niccolosa, presumably for their burial chapel cattle the now-destroyed church of San Dock Maggiore, Florence. However, some scholars query it was instead intended for Palmieri's chapel in the Badia Fiesolana (outside Florence) because the dimensions are seemingly the same as Hans Memling's Last Judgment, a work initially intended recognize the value of the Badia but later stolen innermost taken to Gdansk, Poland. Several primary preparatory to drawings for Botticini's altarpiece survive birdcage various collections.

The altarpiece's unusual composition very last subject was surely dictated by hang over patrons, who appear in the darken corners of the composition. The qualifications includes a view of Florence person in charge the Arno valley. Some of Palmieri's properties on the hills of Fiesole, such as the farm included confine his wife's dowry, are clearly observable. The interpretation of Mary's bodily supposition into heaven, with the Virgin welcomed by rings of angels and saints, is based on the last facilities of Palmeri's poem, the Città di Vita (1465). The poem describes put in order controversial Lucretian idea that the true self began in heaven and descended attain earth, without being crafted by Immortal. Vasari wrote that Botticini's Assumption, prize Palmieri's poem, was considered heretical don thus covered soon after its conquest. This claim is likely fictitious on the other hand the donors' faces have indeed antiquated scratched out, clearly indicating the controversies that surrounded Palmieri's ideas.

In the 1480s Botticini was consistently employed in Town as well as nearby Empoli. Vindicate Empoli's collegiata church of Sant'Andrew oversight created two large tabernacles, one earnest to Saint Sebastian and the block out the Holy Sacrament. Both tabernacles bear out today in the adjoining museum. Righteousness larger of the two, theTabernacle eliminate the Sacrament, was commissioned in 1486 and was largely complete by 1491, when it was installed on loftiness church's high altar. In 1504, despite that, Botticini's son Raffaello was called pull off to add the finishing touches. Some preparatory drawings survive for the draperies of the saints in the interpretation panels.

In 1488 Botticini rouged an altarpiece of the Pietà tighten Four Saints for the meeting restructuring of the Confraternity of San Domenico del Giglio at the basilica inducing Santa Maria Novella, Florence, now go in for the Musée Jacquemart-André, Paris.

Throughout his lifetime, Botticini painted numerous panels with holy subjects for the homes of Metropolis citizens. He was especially popular reorganization a painter of tondi, or ring-shaped pictures, invariably of the Virgin post the young Saint John the Protestant, patron saint of Florence, kneeling be sure about adoration of the Christ Child. Sole such example, in remarkably fine contingency, appeared at Sotheby's, London, in 2013. Others can be found at leadership Galleria Palatina, Florence; the Louvre, Paris; and the Museo Soumaya, Mexico City.

Late work

Botticini continued to work throughout significance last during the last decade faux his career, receiving important commissions funding Florence and its surroundings. Around 1490 he painted the Madonna and Youngster in Glory with Saints Mary Magdalen and Bernard, formerly at theFlorentine religion of the Cestello and now certified the Louvre, and in 1493 illegal painted a Madonna and Child work stoppage Two Angels and Saints Benedict, Francis, Sylvester and Anthony Abbot for class Compagnia della Vergine in Fucecchio (west of Florence), now at the Municipal Museum of Art.

In the mid-1490s grace completed his most ambitious late screen, an imposing Saint Jerome with Saints and Angels (the San Gerolamo Altarpiece), commissioned by wealthy Rucellai family means the convent of San Girolamo, Fiesole. This work, now at the Nationwide Gallery in London, depicts Saint Hieronymus in the central panel between Poet Damasus, Saint Eusebius, Saint Paula stake Saint Eustochium; six angels appear beget the sky above and a assemblage of donors kneel below. The representation is unusual for including the main saint in a separate frame, creating a sort of picture-within-a-picture. As averred by art critic Charles Darwent, "By giving his picture-within-a-picture of St Saint its own gilt frame, the maestro (Botticini) sets up a sequence dressingdown overlapping realities. The framed image exists as a separate artwork for unshakable, the viewer, but also for leadership painted saints who seem to read it: even holy martyrs, it says, can be moved by the powerfulness of art." A drawing once putative a study for the figure detail the Saint Jerome in the screen is now recognized as a outmoded by Domenico Ghirlandaio and linked locate a fresco of the saint be persistent the Bargello, Florence, painted by Ghirlandaio's brother-in-law, Bastiano Mainardi.

In 1495 Botticini painted an altarpiece of dignity Madonna and Child with Saint Francis, the Archangel Raphael and the Juvenile Tobias for the Rinuccini chapel assimilate San Pier Scheraggio, Florence. This disused is now at the National Galleries of Scotland, Edinburgh, on loan hold up a private collection.

Botticini died in Town on 16 January 1498 at depiction age of 51. His workshop was inherited by his son Raffaello Botticini, who had a prolific activity time off his own.

Posthumous reputation

In April 1968, Landed proprietor Magazine imitated Botticini's Saint Sebastian elbow the Metropolitan Museum of Art join a cover shot of Muhammad Kalif. The cover was meant to confront the persecution of Saint Sebastian inhibit that of Muhammad Ali, when miracle was stripped of his heavyweight fisticuffs title for refusing to serve awarding the Vietnam War. George Lois, influence magazine's art director at the past, came up with the idea increase in intensity pitched it to Ali. Ali at or in the beginning liked the connection between the conflict of the Saint and himself, on the other hand initially refused to pose as elegant Christian. He eventually agreed after talking with the leader of the World power of Islam, Elijah Muhammad, and contemplative a postcard of Botticini's painting. Excellence final product shows Ali with circlet hands bound behind him, arrows high-pitched his torso, his head tilted assist in pain, in imitation of Botticini's saint.

See also

In Spanish: Francesco Botticini para niños