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Botticelli (Temporis Collection) by Victoria Charles, Émile Gebhart

By Victoria Charles, Émile Gebhart

The Medici courtroom painter Botticelli is among the unequivocal artists of the Italian Renaissance along Leonardo da Vinci, Michelangelo and Raphael. Favoring female graphics, Botticelli stands aside during the finesse of his traces and the unbridled sensuality of his work. among non secular and personal commissions this Florentine artist brought the profane into paintings via works of advanced mythological topics, equivalent to the incontrovertibly masterful Primavera and The delivery of Venus.

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Additional resources for Botticelli (Temporis Collection)

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Qxp 3/9/2009 4:28 PM Page 48 — Botticelli’s First Works — standing very upright, his face thoughtful without any apparent But Botticelli did not need to scour some distant aesthetic suffering. He does not try to move us with the spectacle of his tradition to find models for his figures. Being a Florentine and the martyrdom. The arrows stuck in his chest, his heart, his flanks, and pupil of a naturalist master, all he needed to do was to look around his thighs, do not seem to bother him. A delicate and robust body, him at the people that Florence showed him every day.

Classical sculpture had never attempted to astonish the conscience in such a way, and to reveal the thoughts or sensations of that instant with the help of gestures and poses of ideal simplicity. Are the Florentine youngsters that Della Robbia makes sing or play musical instruments not proof of this spirit? The same is true for Donatello’s young Saint John; and also for his bands of happy little boys “who walk interlaced like vine branches while dancing and singing” around the external pulpit of the Cathedral of Prato.

8 cm. C. qxp 3/9/2009 4:28 PM Page 47 — Botticelli’s First Works — Assisted by the angel, whose blonde hair is braided like that of a painter will indulge. Mary’s fine, delicate hands and all the tiny little girl, she seems to be bouncing her son softly to amuse him details of the painting are already, as the critic of the Archivi put or to rock him to sleep. The Virgin of the Louvre, in her dark blue it, flowers of grace, “fiori di grazia”. This rare jewel reappeared cloak, is very grave, even melancholy.

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