Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s   Related Paintings of Sandro Botticelli :. | Mystic Nativity | Madonna and Child with St John and two Saints | Kola punishment | The Return of Judith | Three miracles of St Zanobius,reviving the dead |
Related Artists:
Aubrey Beardsley
English Art Nouveau/Golden Age Illustrator, 1872-1898 English draughtsman and writer. He was brought up in Brighton, in genteel poverty, by his mother. She gave her children an intensive education in music and books, and by the time he was sent to boarding-school at the age of seven Beardsley was exceptionally literate and something of a musical prodigy. He was also already infected with the tuberculosis that eventually killed him. There is evidence that his talent for drawing was highly developed by the age of ten, and he was subsequently encouraged by his housemaster at Brighton Grammar School, Arthur William King. Beardsley left school at the end of 1888, and in January 1889 became a clerk at the Guardian Life and Fire Insurance Company in the City of London. Attacks of haemorrhaging of the lungs forced him to abandon his job at the end of 1889. On the strength of a short story sold to Tit Bits he tried to pursue a literary career, but when his health improved in the spring of 1890, he returned both to his job and to drawing. Final affirmation of the direction of his art came in July 1891, when he showed his work to Edward Burne-Jones, who told Beardsley: 'I seldom or never advise anyone to take up art as a profession, but in your case I can do nothing else.
Giuseppe Canella
(28 July 1788 - 11 September 1847), also referred to as Giuseppe Canella the Elder, was an Italian painter. Initially trained by his father Giovanni, an architect, fresco painter and set designer, Giuseppe Canella started out producing stage sets and decorating stately homes in Verona and Mantua. It may have been under the influence of Pietro Ronzoni, a landscape painter of international renown active in Verona, that he took up landscape. The first views were not produced until 1815, after a short stay in Venice. After making his debut at the Esposizione di Belle Arti di Brera of 1818, he made a long journey through Spain, the Netherlands and France for study purposes. The set of 13 landscapes shown at the Esposizione di Belle Arti di Brera in 1831 proved a great success with the public and critics alike, not least due to the fame achieved in Paris with works exhibited in the Salons, commissions from Louis Philippe of Orleans and the award of a gold medal in 1830. He returned to Milan in 1832 and devoted his energies to urban views characterised by an interest in the events of contemporary life and an atmospheric form of portrayal in evident competition with Giovanni Migliara. Landscape came to predominate as from 1835 with subjects drawn from the Lombard countryside and lakes. The focus on poor and humble aspects of life formed part of the artistes fundamental naturalism and coincided with a moralistic approach derived from the novelist Alessandro Manzoni. Crucial importance attaches in the artistes mature period to his trip to Rome and Naples in 1838-39.
Walter Withers
English-born Australian Painter, 1854-1914 was an Australian landscape artist and a member of the Heidelberg School of Australian impressionists. Withers was born at Handsworth, Staffordshire, the son of Edwin Withers. He showed an early desire to paint, but objection was made to this by his father. It is not known what occupation he followed in England, but in 1882 he arrived in Australia with the intention of going on the land. After working for about 18 months on a farm, Withers removed to Melbourne and obtained a position as draughtsman in a firm of printers. He then took up his painting again, and began to exhibit with the Victorian Academy of Arts afterwards merged in the Victorian Artists' Society. In 1887 Withers went to Europe. There he was married to Miss F. Flinn and studied for some months at the Academie Julian, Paris. He returned to Australia with his wife in June 1888 having been commissioned to do black and white work for Messrs Fergusson and Mitchell of Melbourne. His most important work in this way will be found in the illustrations to Edmund Finn's, The Chronicles of Early Melbourne. Withers settled down at first at Kew, a suburb of Melbourne, and then near Heidelberg on the other side of the river Yarra. He became friendly with Arthur Streeton, Charles Conder, Tom Roberts, Frederick McCubbin and other leading artists of the period. He began to sell a few pictures, but the collapse of the land boom put an end to his illustrative work. He obtained some work as a drawing and painting master in schools, and in 1891 opened a studio in Collins-street west, where he held his first private exhibition.