Biography: Sandro Botticelli

Sandro Botticelli, a painter from Florence, was arguably the best humanist artist of the Early Renaissance Period, even though much of his background and sources of inspiration are still unknown.

Jul 31

Sandro Botticelli, a painter from Florence, was arguably the best humanist artist of the Early Renaissance Period, even though much of his background and sources of inspiration are still unknown to us today. The works of art by Botticelli represent the apex of the Medicis' flourishing culture in Florence, a wealthy culture that encouraged the advancement of the arts, philosophy, and ideology. Although Sandro Botticelli, the painter, was hired to work on various subjects throughout his long career, he was always drawn to the grace and morality personified by the goddess Venus. She is the subject of many of his most famous works. (2022)

Early Years

Alessandro di Mariano Filipepi, the son of a tanner, was the name given to Sandro Botticelli at birth. Sandro's nickname, "Little Barrel," was derived from his older brother Giovanni, a pawnbroker known as "Botticello. (Encyclopedia Britannica, n.d.)

The Florentine artists Andrea del Verrocchio, the brothers Antonio, and Piero del Pollaiuolo all had renowned workshops where young artists went to learn their trade and were also early influences on Botticelli. Leonardo da Vinci most likely visited Verrocchio's workshop while Botticelli was there. These formative years influenced Botticelli's later and contemporary work, which shows an interest in graceful figures and capturing decorative detail. (Cartwright, 1482)

Mature Period

Due to his position, Botticelli joined the Compagnia di San Luca, a group of Florentine painters, in 1472. His earliest creations from this era were made for churches in Florence, including Adoration of the Magi (c.1476) for Santa Maria Novella, one of the city's most significant places of worship. Cosimo de' Medici, his sons Piero and Giovanni, and other Medici family members are depicted in the painting. In addition, it's believed that the painting contains the artist's only known self-portrait.

Along with the more well-known pieces, his workshop was, at this time, Florence's most popular source for Madonnas for both private and public patrons. As a result, in 1481, Pope Sixtus IV commissioned Botticelli to supervise the Sistine Chapel's decoration, which had just been completed. Visitors frequently miss the series of frescoes Botticelli painted for this project because they focus on Michelangelo's well-known ceiling.

As the Medieval "dark ages" ended, Renaissance Humanism and the rational sciences were just starting to form an entirely new worldview. Botticelli was at the forefront of a significant shift that took place in Western Europe in this worldview that would eventually grow into the Enlightenment a few centuries later.

As soon as he returned to Florence (c. 1486), Botticelli began work on his two most well-known pieces, Primavera (late 1470s–early 1480s) and The Birth of Venus. Vasari observed these pieces in Pierfrancesco de' Medici's villa, and it was long believed that they were intended for this location. However, art historians are unsure of the paintings' origins and commissioning parties. Although it is not sure, it appears likely that one of the Medici family members commissioned both of the paintings.

A change was occurring in philosophy, culture, and science, and Botticelli's artwork gave shape to this new vision, signaling the beginning of the modern era. These paintings show the tensions between the medieval and contemporary periods. The medieval era was predominately Christian, with art that was primarily devotional, highly ornamental, and stylized; the modern era, on the other hand, was rational, scientific, and glorified Classical art from what the Neoplatonists thought to have been a more advanced society. (The Art Story, n.d.)

Final Years

Botticelli's art seemed to experience a crisis of expression and style in the fifteen years before his death. The Medici had been driven out of Florence, and invasions and plagues had disturbed Italy's peace during the turbulent 1490s. In his later works, Botticelli abandoned the ornamental beauty of his earlier works in favor of a more straightforward style that, in contrast, appeared heavy-handed and crude.

With their profoundly moral and religious undertones, these later paintings also suffered from comparisons to the refined aesthetic of artists like Michelangelo and Raphael. Botticelli's most ambitious painting from this time period, "Mystic Nativity," captures this ominous, apocalyptic feeling.

Botticelli developed melancholy and depression as his artwork lost favor. He had never been married and valued his relationships with family and friends. The image of Botticelli's final years as a quick descent into poverty, isolation, and mental anguish is poignant, given that he was always known for his upbeat disposition and quick wit. Until the late 19th century, when a growing appreciation for Florentine arts and culture led to a revival of interest in his work, his name vanished after his death. (Gallery, London, n.d.)

References

art in context. (2022, February 25). artincontext.org. artincontext.org. https://artincontext.org/sandro-botticelli/

Cartwright, M. (1482, January 1). World History Encyclopedia. www.worldhistory.org. https://www.worldhistory.org/Sandro_Botticelli/

Encyclopedia Britannica. (n.d.). www.britannica.com. Retrieved August 1, 2022, from https://www.britannica.com/biography/Sandro-Botticelli

The Art Story. (n.d.). www.theartstory.org. Retrieved August 1, 2022, from https://www.theartstory.org/artist/botticelli-sandro/

Gallery, London, T. N. (n.d.). Sandro Botticelli (about 1445 - 1510) | National Gallery, London. www.nationalgallery.org.uk. Retrieved August 1, 2022, from https://www.nationalgallery.org.uk/artists/sandro-botticelli