where are sandro botticelli paintings
Tempera on canvas – Uffizi Gallery, Florence
In this panel painting, Botticelli turns once again to a mythological subject. Venus, the goddess of love, reclines on the grass while her lover Mars, the god of war, lies asleep and disarmed before her, presumably tired out by love-making. Several young fauns are playing in the scene, attempting to wake Mars by blowing in his ear with a conch shell. The painting also features some wasps (‘vespe’ in Italian), which may be a reference to the Vespucci family, who lived near to Botticelli, or may refer to the stings of love. The basic message of the work could be read as ‘love conquers war’.
After Lippi left Florence for Spoleto, Botticelli worked to improve the comparatively soft, frail figural style he had learned from his teacher. To this end he studied the sculptural style of Antonio Pollaiuolo and Andrea del Verrocchio, the leading Florentine painters of the 1460s, and under their influence Botticelli produced figures of sculptural roundness and strength. He also replaced Lippi’s delicate approach with a robust and vigorous naturalism, shaped always by conceptions of ideal beauty. Already by 1470 Botticelli was established in Florence as an independent master with his own workshop. Absorbed in his art, he never married, and he lived with his family.
Sandro Botticelli was born Alessandro di Mariano Filipepi to a father who was a tanner. Sandro had an elder brother, Giovanni, a pawnbroker who was called Botticello (“Little Barrel”), from which Sandro’s nickname was derived. Sandro never married, and he lived with his family throughout his life.
In the portrayal Discovery of the Body of Holof.
Such qualities are also exhibited in Botticelli’s best-known works, Spring and the Birth of Venus, executed for the estate of a cousin of Lorenzo the Magnificent, Lorenzo di Pierfrancesco de’ Medici. Both works were almost certainly designed in conjunction with a scholar.
A large sacra conversazione altarpiece of about 1470–72 is in the Uffizi. It is not in good condition, but shows Botticelli had mastered the posing of a group of eight figures “with a skillful semblance of easy naturalness in a closed architectural setting”.  One work that can be firmly dated is the narrow Saint Sebastian made for a pier in Santa Maria Maggiore and dedicated in January 1474; it is now in Berlin.  This was painted at the same time as the Pollaiuolo brothers’ much larger altarpiece of the same saint, a showpiece of anatomical poses, with the saint shown in great pain.  Though very similar in pose, no doubt after Botticelli had seen the other painting, Botticelli’s Sebastian seems calm and poised, following the legend that the arrows did not kill Sebastian, whose wounds were miraculously healed. The almost nude body is very carefully drawn; usually Botticelli was not greatly concerned with anatomical precision, and he painted relatively few nudes, though some are among his most famous works. The delicate winter landscape, reflecting the traditional date of the saint’s martyrdom and feast-day in January, is also one of Botticelli’s more impressive efforts. 
The Adoration of the Magi for Santa Maria Novella (c. 1475–76, now in the Uffizi, and the first of 8 Adorations),  was singled out for praise by Vasari, and was in a much-visited church, so spreading his reputation. It can be thought of as marking the climax of Botticelli’s early style. Despite being commissioned by a money-changer, or perhaps money-lender, not otherwise known as an ally of the Medici, it contains the portraits of Cosimo de Medici, his sons Piero and Giovanni (all these by now dead), and his grandsons Lorenzo and Giuliano. There are also portraits of the donor and, in the view of most, Botticelli himself, standing at the front on the right. The painting was celebrated for the variety of the angles from which the faces are painted, and of their expressions. 
Love conquers war – this is the message behind Botticelli’s painting ‘Mars and Venus’. Mars, the god of war, is asleep and unarmed, while Venus, goddess of love, is awake and alert. Botticelli was most likely influenced by a lost classical painting showing the marriage of Alexander the Great to Roxana, as described by the 2nd-century Greek writer Lucian. In that painting, cupids played with Alexander’s armor and spear, much like the satyrs who steal Mars’ lance in Botticelli’s work. Set in a haunted forest, the scene has a very compact sense of perspective.
The first recorded work by Botticelli, ‘Allegory of Fortitude’ was originally part of a set of seven panels meant to decorate the high chair backs in a tribunal hall of the Piazza della Signoria in Florence. Each panel depicted one of the seven virtues – the three Christian values of faith, hope and charity, along with the four worldly values of temperance, prudence, justice and fortitude. This was the young artist’s first opportunity to show his talent, as the works were highly publicized and accessible to the general public. With Fortitude, the 25-year-old Botticelli clearly seized his opportunity, going on to complete many other high profile commissions.