what are the colors in the adoration of the magi by boticelli
This painting by Botticelli was commissioned by an Italian banker, Gaspare di Zanobi del Lama. He wanted the painting for a chapel located in Florence. The chapel where the Adoration of the Magi once rested is now destroyed, and the painting is now in the Uffizi, a famous art museum in Florence.
In Botticelli’s depiction of the Adoration of the Magi, there are a number of individuals surrounding the makeshift structure where Christ rests. The crumbling edifice surrounding Christ indicates Jesus’ humble roots, and creates a poignant contrast when placed next to the rich robes worn by those surrounding the makeshift altar.
In the scene numerous characters are present, among which are several members of the Medici family: Cosimo de’ Medici (the Magus kneeling in front of the Virgin, described by Giorgio Vasari as “the finest of all that are now extant for its life and vigour”), his sons Piero (the second Magus kneeling in the centre with the red mantle) and Giovanni (the third Magus), and his grandsons Giuliano and Lorenzo. The three Medici portrayed as Magi were all dead at the time the picture was painted, and Florence was effectively ruled by Lorenzo.
Also Gaspare himself is said to be included in the painting, as the old man on the right with white hair and a light blue robe looking and pointing at the observer. Furthermore, also Botticelli is alleged to have made a self-portrait as the blonde man with yellow mantle on the far right.
The Adoration of the Magi was commissioned from Botticelli by Italian banker, Gaspare di Zanobi del Lama. It was destined for a Florentine chapel, the Santa Maria Novella. It is unknown whether Gaspare instructed Botticelli to include the many likenesses of the Medici family in it, or whether it was a decision that Botticelli made. Whatever the reason, the result was a work of art that paid homage to a very powerful family. The Medici are not mere bystanders in the painting. Instead, they are transformed into the three wise men and other members of their retinue.
Botticelli also draws the viewer deliberately into the scene. Looking at this painting it is easy to imagine becoming part of the crowd paying homage to the baby. A few more steps and you would be part of the scene. Although not overtly welcoming, faces in the crowd are turned to the viewer indicating an awareness of the world away from the devotions and the possibility of that world entering the scene.
 Actually Brüningk and Somov 1891: 73 say only that the painting was acquired “par l’entremise” (“through the intermediation”) of Denon. It is quite possible, however, that Denon–who, apart from being the creator of the Musée Napoleon, also had a very large private collection of paintings, art objects, and antiquities of his own (see Jean Chatelain, Dominique Vivant Denon et le Louvre de Napoleon, Paris, 1973: 260)–was already in possession of The Adoration of the Magi when in 1808 he was entrusted with augmenting the Russian Imperial collections (see Vladimir Levinson-Lessing, Istoria kartinskoi galerei Ermitaga, 1764-1917, Leningrad, 1985: 138).
 Information given by E. Brüningk and Andrei Somov, Ermitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d’Italie et d’Espagne, 3rd ed., Saint Petersburg, 1891: 73: “d’après le témoignage du baron Vivant Denon.” No reference to an engraver named Peralli could be found in any of the generally used art dictionaries. It is know, however, that Botticelli’s small panel St. Augustine in His Study (no. 1473 in the Uffizi in Florence), was acquired in 1779 through Piero Pieralli (see John Fleming, “The Hugfords in Florence,” The Connoisseur 136 : 206). On Denon see the following note.
In the Uffizi there is another painting by Sandro Botticelli which is both a portrait of the Medici family and a self-portrait of the artist. It is the celebrated Adoration of tlre Magi , painted around the year 1475 for the chapel patronized by the Lama (or Lami) family in Santa Maria Novella. It is the picture that, according to Vasari, made the young Sandro famous in Florence and Italy and opened the way to Rome.
The painting is based on a subtle web of symbolic references. The Lami Chapel was dedicated to the Epiphany because the client’s name, Gaspare, was the same as the one traditionally attributed to one of the three Magi. This explains the choice of the iconographic subject.
But the journey of the Magi to the stabIe in Bethlehem had already become part of Medici mythography. Less than twenty years earlier (1459) Benozzo Gozzoli had painted a fresco in the private chapel of the family palace, the celebrated ceremonial and formal cavalcade known as the Journey of the Magi in which we can recognize, alongside eminent figures of the Italian aristocracy (Pandolfo Malatesta, Galeazzo Maria Sforza) and the most prominent notables of the city oligarchy, several members of the Medici house: Cosimo the head of the family, his son and heir Piero, probably his illegitimate son Giovanni and the children Lorenzo and Giuliano. [ 4 ]
Cosimo de’ Medici