Sandro Botticelli

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Botticelli, kendi portresi (Santa Maria Novella, Floransa)
Botticelli, kendi portresi (Santa Maria Novella, Floransa)

Daha çok Sandro Botticelli olarak bilinmekte olan Alessandro di Mariano Filipepi (1 Mart 1445 - 17 Mayıs 1510) erken Rönesans döneminin Floransa okuluna mensup bir İtalyan ressamdır. Yüz seneden daha kısa bir zaman sonra, Lorenzo de' Medici himayesinde bu akım, Giorgio Vasari'nin deyimiyle bir altın çağ yaşamıştır.

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Konu başlıkları

[değiştir] Biyografi

Born in Florence in the working-class rione of Ognissanti, Botticelli was first apprenticed to a goldsmith, then, following the boy's wishes, his doting father sent him to Fra Filippo Lippi, who was at work frescoing the Convent of the Carmine. Lippo Lippi's synthesis of the new control of three-dimensional forms, tender expressiveness in face and gesture, and decorative details inherited from the late Gothic style were the strongest influences on Botticelli. A different influence was the new sculptural monumentality of the Pollaiuolo brothers, who were doing a series of Virtues for the Tribunale, or meeting hall, of the Mercanzia, a cloth-merchants' confraternity, and Botticelli contributed to the set the Fortitude, dated 1470, in the Uffizi Gallery. He was an apprentice, too, in the studio of Andrea del Verrocchio, where Leonardo da Vinci worked beside him, but he made his name in his local Church of Ognissanti, with a St. Augustine (1480) that successfully competed as a pendant with Domenico Ghirlandaio's Jerome being frescoed at the same time on the other side of the nave, "the head of the saint being expressive of profound thought and quick subtlety" (Vasari). In 1470 he opened his own independent studio.

Botticelli'nin en tanınmış eserlerinden biri 'Venüs'ün Doğuşu (Uffizi, Floransa)
Botticelli'nin en tanınmış eserlerinden biri 'Venüs'ün Doğuşu (Uffizi, Floransa)

[değiştir] Medici

Botticelli came of age in the time of Cosimo de' Medici. He lived to become the favorite painter of Cosimo's eminent grandson, Lorenzo il Magnifico. Lorenzo de' Medici was quick to employ his talent; the artist's paintings chronicle the triumphs of Lorenzo and the destruction of his enemies on the walls of Florence. Botticelli is representative of the Medicean age, his art is as extensive as the culture of the Renaissance itself. Always politically aware, the artist recorded the struggles between the Medici and the Pazzi and the Arrabbiati and the Piagonni. Botticelli made consistent use of the circular tondo form and did many beautiful female nudes, according to Vasari. The Birth of Venus was at the Medici villa of Castello.

He was influenced by Fra Filippo Lippi and Antonio Pollaiuolo. Neoplatonism, with its fusion of pagan and Christian themes and its elevation of estheticism as a transcendental element of art, was also deeply influential in his artwork, as it was with his patrons, the Medicis.

[değiştir] Din

Sandro was intensely religious. In later life, he was one of Savonarola's followers and burnt his own paintings on pagan themes in the notorious "Bonfire of the Vanities". Botticelli biographer Ernst Steinman searched for the artist's psychological development through his Madonnas. In the deepening of insight and expression in the rendering of Mary's physiognomy, Steinman discerns proof of Savonarola's influence over Botticelli. This means that the biographer needed to alter the dates of a number of Madonnas to substantiate his theory; specifically, they are dated ten years later than before. Steinman disagrees with Vasari's assertion that Botticelli produced nothing after coming under the influence of Girolamo Savanarola. Steinman believes the spiritual and emotional Virgins rendered by Sandro follow directly from the teachings of the Dominican monk.

Earlier, Botticelli had painted an Assumption of the Virgin for Matteo Palmieri in a chapel at San Pietro Maggiore in which, it was rumored, both the patron who dictated the iconic scheme and the painter who painted it, were guilty of unidentified heresy, a delicate requirement in such a subject. The heretical notions seem to be gnostic in character:

   
Sandro Botticelli
By the side door of San Piero Maggiore he did a panel for Matteo Palmieri, with a large number of figures representing the Assumption of Our Lady with zones of patriarchs, prophets, apostles, evangelists, martyrs, confessors, doctors, virgins, and the orders of angels, the whole from a design given to him by Matteo, who was a worthy and educated man. He executed this work with the greatest mastery and diligence, introducing the portraits of Matteo and his wife on their knees. But although the great beauty of this work could find no other fault with it, said that Matteo and Sandro were guilty of grave heresy. Whether this be true or not, I cannot say. (Giorgio Vasari)
   
Sandro Botticelli

This is a common misconception based on a mistake by Vasari. The painting referred to here, now in the National Gallery in London, is by the artist Botticini. Vasari confused their similar sounding names.

Primavera (1478): Soldan sağa: Merkür, the Three Graces, Venüs, Flora, Chloris, Zephyrus.
Primavera (1478): Soldan sağa: Merkür, the Three Graces, Venüs, Flora, Chloris, Zephyrus.

[değiştir] Diğer Eserleri

The Adoration of the Magi for Santa Maria Novella, c. 1476, contains portraits of Cosimo de' Medici ("the finest of all that are now extant for its life and vigour"), his grandson Giuliano de' Medici, and Cosimo's son Giovanni, were effusively described by Vasari:

"The beauty of the heads in this scene is indescribable, their attitudes all different, some full-face, some in profile, some three-quarters, some bent down, and in various other ways, while the expressions of the attendants, both young and old, are greatly varied, displaying the artist's perfect mastery of his profession. Sandro further clearly shows the distinction between the suites of each of the kings. It is a marvellous work in colour, design and composition."

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 was moderately successful. 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 abstension 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. As for the subject, when Fra Girolamo Savonarola began to preach hellfire and damnation, the susceptible Sandro Botticelli became one of his adherents, a piagnone, left painting as a worldly vanity, burned much of his own early work, fell into poverty as a result, and would have starved but for the tender support of his former patrons.

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