Lamentation over the Dead Christ, by Sandro Botticelli.

The Museo Poldi Pezzoli is an art museum in Milan, Italy. The museum was originated in the 19th century as private collection of Gian Giacomo Poldi Pezzoli and his mother, Rosa Trivulzio, of the family of the condottiero Gian Giacomo Trivulzio, and has a particularly broad collection of Northern Italian and (for Italy) Netherlandish/Flemish artists.

Collection: Italian painters[link]

Sited in the centre of the city, works on display include Italian painters such as: Mariotto Albertinelli; Giovanni d'Alemagna, the uncle of Antonio Vivarini; Sofonisba Anguissola; Lorenzo Bartolini; Fra Bartolomeo; Luca Baudo; Alessandro Mazzola Bedoli; Jacopo Bellini; Giuseppe Bertini; Vitale da Bologna; Francesco Bonsignori; Paolo Borroni; il Moretto from Brescia; Botticelli, Giulio Campi; Canaletto; Francesco Capella (Dagiù); Cristoforo Caselli; Jacopo del Casentino;G.B. Castiglione; Bernardo Cavallino; Luigi Cavenaghi (see The Last Supper (Leonardo); Cima da Conegliano; Luigi Crespi; Daddi; Gaetano Fasanotti; Gaudenzio Ferrari; Fetti; Ambrogio Bergognone; Gaetano Gandolfi; Raffaellino del Garbo; Baciccio; Giovanni Francesco Gessi, a pupil of Guido Reni; Giordano; Francesco Guardi; Giacomo Guardi; Francesco Hayez; Pietro degli Ingannati; Filippo Lippi; Pietro Lorenzetti; Lotto; Bernardino Luini; Giovanni Francesco Maineri; Rutilio Manetti; Andrea Mantegna; Giovanni Martinelli; il Morazzone; Livio Mehus; Lippo Memmi, a pupil of Simone Martini; Michelangelo; Francesco Morone; Moroni; Carlo Francese and Giuseppe Nuvolone (the son of (Panfilo Nuvolone);Marco D'Oggione; Eleuterio Pagliano; Filippo Palizzi, a contemporary of Cornelius Van Leemputten; Palma il Vecchio; Marco Palmezzano; Perugino; Pesellino; di Pietro (Lo Spagna); Antonio Pirri; Antonio Pollaiolo; Riccardo Pellegrini; Giulio Cesare Procaccini; Raibolini (il Francia); Ribera; Giampietrino; ’’il Sassoferrato’’;il Salviati of Florence; Raphael; Luigi Scrosati; Fra Semplice (da Verona); Cesare da Sesto; Giovanni Servi; Andrea Solario; Gherardo Starnina; Bernardo Strozzi; Zanobi Strozzi, a pupil of Fra Angelico; Cesare Tamaroccio; Francesco de Tatti; Girolamo Tessari Del Santo; Tiepolo; Cosmè Tura; Giovanni de' Vecchi; Bartolomeo Veneto; and Antonio Vighi.

Northern European Painters[link]

Painters in the collection include: Breughel the younger; Cranach; Goltzius; James Baker Pyne; Thomas Shotter Boys; Sutterman; Teniers the younger; Jacob Toorenvliet; Pierre Tetar van Elven; Mathijs Van Hellemont; Jan Van der Meer II; Willem Van Mieris; Jacob Ferdinand Voet; Nicolaus Alexander Mair Von Landshut, (Mair Landshut); and Cornelis de Wael.

The exhibition includes as weaponry, glassworks, ceramics, goldworks and others.

External links[link]

• Museum website

Coordinates: 45°28′07″N 9°11′29″E / 45.46874°N 9.19139°E / 45.46874; 9.19139

Portrait of a Girl by Piero del Pollaiolo, at the Museo Poldi Pezzoli, Milan.

Piero del Pollaiolo (c. 1443 – 1496), also known as Piero Benci, was an Italian Renaissance painter from Florence. His brother was the artist Antonio del Pollaiolo and the two frequently worked together. Their work shows both classical influences and an interest in human anatomy; reportedly, the brothers carried out dissections to improve their knowledge of the subject.

He died in Rome in 1496.

Giorgio Vasari includes a biography of Pollaiolo in his Lives of the Artists.

Works[link]

• Three Saints (1467-68) - altar-piece
• Portrait of a woman (c.1470)
• Portrait of Galeazzo Maria Sforza (c.1471) - tempera on wood
• Martyrdom of Saint Sebastian (completed 1475) - oil on wood
• Coronation of the Virgin (1483) - altar-piece painted in the choir of the cathedral at San Gimignano
• 7 Virtues (6 painted by Pollaiolo):

  Charity

  Faith

  Temperance

  Prudence

  Hope

  Justice

External links[link]

Wikimedia Commons has media related to: Piero Pollaiuolo

• Biography on the Web Gallery of Art
• Extensve biography of Antonio and Piero del Pollaiolo
• Piero del Pollaiolo at Panopticon Virtual Art Gallery

Sandro Botticelli
Probable self-portrait of Botticelli, in his Adoration of the Magi (1475).
Birth name	Alessandro di Mariano di Vanni Filipepi
Born	c. 1445[1] Florence, Republic of Florence, (now Italy)
Died	May 17, 1510 (aged 64–65) Florence, Republic of Florence, (now Italy)
Nationality	Italian
Field	Painting
Training	Filippo Lippi Andrea del Verrocchio
Movement	Italian Renaissance
Works	Primavera The Birth of Venus The Adoration of the Magi Other Works
Influenced by	Fra Filippo Lippi

Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli (Italian pronunciation: [ˈsandro bottiˈtʃɛlli]; c. 1445^[1] – May 17, 1510) was an Italian painter of the Early Renaissance. He belonged to the Florentine school under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. Botticelli's posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting. Among his best known works are The Birth of Venus and Primavera.

Biography[link]

Early life[link]

There are very few details of Botticelli's life, but it is known that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than other Renaissance artists. He was born in the city of Florence in a house in the Via Nuova, Borg'Ognissanti. Vasari reported that he was initially trained as a goldsmith by his brother Antonio.^[2] Probably by 1462 he was apprenticed to Fra Filippo Lippi;^[3] many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner. As recently discovered, during this time, Botticelli could have traveled to Hungary, participating in the creation of a fresco in Esztergom, ordered in the workshop of Filippo Lippi by János Vitéz, then archbishop of Hungary.^{[citation needed]}

By 1470, Botticelli had his own workshop. Even at this early date his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms.

Maturity[link]

The Adoration of the Magi for Santa Maria Novella (c. 1475-1476, now at the Uffizi) contains the portraits of Cosimo de Medici, his sons Piero and Giovanni, and his grandsons Lorenzo and Giuliano. The quality of the scene was hailed by Vasari as one of Botticelli's pinnacles.

Primavera (c. 1482): icon of the springtime renewal of the Florentine Renaissance, also at the summer palazzo of Pierfrancesco de' Medici, as a companion piece to the Birth of Venus and Pallas and the Centaur. Left to right: Mercury, the Three Graces, Venus, Flora, Chloris, Zephyrus.

The Birth of Venus, 1486. Uffizi, Florence

Venus and Mars, 1483

"Like much of Florence, Botticelli had come under the sway of Savonarola and his art had transformed from the decorative to the deeply devout - The Mystical Nativity (c. 1500-1501) [for example] bears all the signs of this change"^[4]

In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist.

The masterpieces Primavera (c. 1482) and The Birth of Venus (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the Primavera was painted for Lorenzo's townhouse in Florence, and The Birth of Venus was commissioned by someone else for a different site. By 1499, both had been installed at Castello.^[5]

In these works, the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by John Ruskin as possessing linear rhythm, there can be no doubt.

In the mid-1480s Botticelli worked on a major fresco cycle with Perugino, Domenico Ghirlandaio and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.

Savonarola monument, Ferrara. Botticelli may have seen his own paintings fed to the flames - but in these strange times the artist might not have objected

Influence of Savonarola[link]

In later life, Botticelli was one of the followers of the deeply moralistic friar Savonarola who preached in Florence from 1490 until his execution in 1498, though the full extent of Savonarola's influence remains uncertain.^[6]

"The story that he burnt his own paintings on pagan themes in the notorious "Bonfire of the Vanities" is not told by Vasari, who nevertheless asserts that of the sect of Savonarola "he was so ardent a partisan that he was thereby induced to desert his painting, and, having no income to live on, fell into very great distress. For this reason, persisting in his attachment to that party, and becoming a Piagnone^[7] he abandoned his work." Botticelli biographer Ernst Steinmann searched for the artist's psychological development through his Madonnas. In the "deepening of insight and expression in the rendering of Mary's physiognomy", Steinmann discerned proof of Savonarola's influence over Botticelli. (In Steinmann's work the dates of a number of Madonnas were placed at a later point in the artist's life). Steinmann disagreed with Vasari's assertion that Botticelli produced nothing after coming under the influence of Savonarola, believing rather that the spiritual and emotional Virgins painted by Sandro followed directly from the teachings of the Dominican monk.

Death and posthumous eclipse[link]

Botticelli was already little employed in 1502. In 1504 he was a member of the committee appointed to decide where Michelangelo's David would be placed. His later work, especially as seen in a series on the life of St. Zenobius, witnessed a diminution of scale, expressively distorted figures, and a non-naturalistic use of colour reminiscent of the work of Fra Angelico nearly a century earlier. After his death his reputation was eclipsed longer and more thoroughly than that of any other major European artist. His paintings remained in the churches and villas^[8] for which they had been created, his frescoes in the Sistine Chapel upstaged by Michelangelo's. British collector William Young Ottley, had however brought Botticelli's The Mystical Nativity to London with him in 1799 after buying it in Italy. After Ottley's death its next purchaser, William Fuller-Maitland of Stansted, allowed it to be exhibited in a major art exhibition held in Manchester in 1857, The Art Treasures Exhibition,^[9] where amongst many other art works it was viewed by more than a million people. The first nineteenth century art historian to have looked with satisfaction at Botticelli's Sistine frescoes was Alexis-François Rio, Anna Brownell Jameson and Charles Eastlake were alerted to Botticelli, works by his hand began to appear in German collections, and the Pre-Raphaelite Brotherhood incorporated elements of his work into their own.^[10] Walter Pater created a literary picture of Botticelli, who was then taken up by the Aesthetic movement. The first monograph on the artist was published in 1893; then, between 1900 and 1920 more books were written on Botticelli than any other painter.^[11]

Private life[link]

Botticelli never wed, and expressed a strong aversion to the idea of marriage, a prospect he claimed gave him nightmares.^[12]

The popular view is that he suffered from an unrequited love for Simonetta Vespucci, a married noblewoman. According to popular belief, she had served as the model for The Birth of Venus and recurs throughout his paintings, despite the fact that she had died years earlier, in 1476. Botticelli asked that when he died, he be buried at her feet in the Church of Ognissanti in Florence. His wish was carried out when he died some 34 years later, in 1510.

Some modern historians have also examined other aspects of his sexuality. In 1938, Jacques Mesnil discovered a summary of a charge in the Florentine Archives for November 16, 1502 which read simply "Botticelli keeps a boy", under an accusation of sodomy. The painter would then have been fifty-eight; the charges were eventually dropped. Mesnil dismissed it as a customary slander by which partisans and adversaries of Savonarola abused each other. Opinion remains divided on whether this is evidence of homosexuality.^[13] Many have firmly backed Mesnil,^[14] but others have cautioned against hasty dismissal of the charge.^[15] Yet while speculating on the subject of his paintings, Mesnil nevertheless concluded "woman was not the only object of his love".^[16]

Works[link]

See also[link]

• History of painting
• Italian Renaissance
• List of famous Italians
• List of Italian painters
• List of painters
• Renaissance painting
• Western painting
• Botticelli (game)

References[link]

Sources[link]

• Knackfuss H., Monographs On Artists, VI. Botticelli by Ernst Steinman, Translated by Campbell Dodgson, New York, Lemcke & Huachner, 1901, Pg. 112.
• New York Times, Life of Botticelli, November 19, 1904, Page BR783.
• Da Vinci Declassified, 2006 TLC documentary
• Ullman, H., Sandro Botticelli, 1893
• Yashiro, Y., Sandro Botticelli and the Florentine Renaissance, 1929
• Lightbown, R., Sandro Botticelli: Life and Work, 1989
• The New Encyclopædia Britannica, Macropaedia, Volume 2, 1991, Page 413-14.

Further reading[link]

In his book Sandro Botticelli: Life and Work, Ronald Lightbown claims "There are only two books to attempt a catalogue raisonné of the works of Botticelli and his school" (source: page 328 of the 1989 edition). These are the two books:

• Salvini R., Tutti la pittura del Botticelli, Milan, Rizzoli Editore, 1958 (in Italian)
• Mandel G., Botticelli, 1969 (in English; earlier Italian [1967] and French [1968] versions exist)

External links[link]

Wikimedia Commons has media related to: Sandro Botticelli

• Sandro Botticelli Biography, Style and Technique
• Sandro Botticelli in "A World History of Art"
• Botticelli at Panopticon Virtual Art Gallery
• World of Dante Botticelli's Dante illustrations and interactive version in the Chart of Hell
• sandrobotticelli.net, 200 works by Sandro Botticelli
• Web Gallery of Art Biography of Sandro Botticelli
•  Sidney Colvin (1911). "Botticelli, Sandro". Encyclopædia Britannica (11th ed.). 
•  "Botticelli, Sandro". The American Cyclopædia. 1879. 

v t e Botticelli Works Madonna and Child with an Angel · Madonna and Child with an Angel · Madonna della Loggia · The Virgin and Child with Two Angels and the Young St. John the Baptist · The Annunciation · The Virgin and Child, St. John and an Angel · Madonna and Child · Adoration of the Magi · Portrait of a Young Man · Madonna in Glory with Seraphim · Madonna of the Sea · Madonna of the Rosegarden (Madonna del Roseto) · Madonna and Child and Two Angels · Portrait of Esmeralda Brandini · Fortitude · Madonna and Child with Six Saints (Sant'Ambrogio Altarpiece) · Madonna and Child with an Angel · The Return of Judith to Bethulia · The Discovery of the Murder of Holofernes · Adoration of the Magi · Portrait of a Young Woman · Adoration of the Magi · St. Sebastian · Portrait of a Man with a Medal of Cosimo the Elder · Portrait of Giuliano de' Medici · Madonna and Child · Catherine of Alexandria · Nativity · Portrait of Giuliano de' Medici · The Birth of Christ · Portrait of Giuliano de' Medici · Madonna and Child with Eight Angels · St. Augustine · Madonna of the Magnificat (Madonna del Magnificat) · Madonna of the Book (Madonna del Libro) · Portrait of a Young Woman · Portrait of a Young Woman · Annunciation · St. Sixtus II · Adoration of the Magi · Primavera · Pallas and the Centaur · Venus and Mars · Portrait of a Young Man · Portrait of a Young Man · The Story of Nastagio degli Onesti · Venus and the Three Graces Presenting Gifts to a Young Woman · A Young Man Being Introduced to the Seven Liberal Arts · The Virgin and Child Enthroned (Bardi Altarpiece) · The Birth of Venus · Annunciation · Madonna Adoring the Child with Five Angels · Madonna of the Pomegranate (Madonna della Melagrana) · The Virgin and Child with Four Angels and Six Saints (Pala di San Barnaba) · Vision of St. Augustine · Christ in the Sepulcre · Salome with the Head of St. John the Baptist · Extraction of St. Ignatius' Heart · Cestello Annunciation · The Virgin Adoring the Child · Lamentation over the Dead Christ · Portrait of a Man · San Marco Altarpiece · St. Augustine in His Cell · Madonna and Child and the Young St John the Baptist · Portrait of Lorenzo di Ser Piero Lorenzi · Virgin and Child with the Infant St. John the Baptist · Holy Trinity (Pala delle Convertite) · The Virgin and Child with Three Angels (Madonna del Padiglione) · Calumny of Apelles · Lamentation over the Dead Christ with Saints · Last Communion of St. Jerome · Portrait of Dante · The Story of Virginia · The Story of Lucretia · Crucifixion · Christ Crowned with Thorns · Transfiguration, St Jerome, St Augustine · Judith Leaving the Tent of Holofernes · Agony in the Garden · The Mystical Nativity · Baptism of St. Zenobius and His Appointment as Bishop · Three Miracles of St. Zenobius · Three Miracles of St. Zenobius · Last Miracle and the Death of St. Zenobius