why was sandro boticelli exacuted
1. His real name wasn’t Sandro
Botticelli’s real name was a mouthful: Alessandro di Mariano di Vanni Filipepi. So, it’s no wonder that the artist’s monniker was shortened to Sandro. “Botticelli,” meanwhile, was a nickname that meant “little barrel.” According to PBS, it originally came from the painter’s brother. It obviously stuck.
A relief sculpture of Bernardino of Siena organizing the vanities bonfire. The sculpture is in Perugia, on the Oratorio di San Bernardino, by Agostino di Duccio, built between 1457 and 1461. Courtesy of Giovanni Dall’Orto, via Wikimedia Commons.
Botticelli worked in all the current genres of Florentine art. He painted altarpieces in fresco and on panel, tondi (round paintings), small panel pictures, and small devotional triptychs. His altarpieces include narrow vertical panels such as the St. Sebastian (1474); small oblong panels such as the famous Adoration of the Magi (c. 1476) from the Church of Santa Maria Novella; medium-sized altarpieces, of which the finest is the beautiful Bardi Altarpiece (1484–85); and large-scale works such as the St. Barnabas Altarpiece (c. 1488) and the Coronation of the Virgin (c. 1490). His early mastery of fresco is clearly visible in his St. Augustine (1480) in the Church of Ognissanti, in which the saint’s cogent energy and vigour express both intellectual power and spiritual devotion. Three of Botticelli’s finest religious frescoes (completed 1482) were part of the decorations of the Sistine Chapel undertaken by a team of Florentine and Umbrian artists who had been summoned to Rome in July 1481. The theological themes of the frescoes were chosen to illustrate papal supremacy over the church; Botticelli’s are remarkable for their brilliant fusion of sequences of symbolic episodes into unitary compositions.
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.
Botticelli may be most famous for his mythological works and secular portraits, but he was very religious, and produced more Madonna paintings and altarpieces than anything else. In old age, Botticelli was one of the followers of the deeply moralistic friar Savonarola, who preached in Florence from 1490 until his execution in 1498. After Savonarola’s death, Botticelli was never the same: “he was induced to desert his painting, and, having no income to live on, fell into very great distress.” (G. Vasari). In 1491, he served on a committee to decide upon a façade for the Cathedral of Florence. His ideas must have been valuable, for although old and practically inactive, in 1504, Botticelli was included among the members of the committee responsible for choosing the most suitable location for Michelangelo’s David. In modern times, his legacy is carried all the way into outer space: an impact crater on the surface of the planet Mercury is called Botticelli in his honor.
The Uffizi Gallery is the main location to see works by Botticelli: it is home to the what is likely the largest concentration of Botticellis in the world. The historic “Botticelli Room” at the Uffizi has recently been divided up in order to better preserve and display the works and to improve visitor flow so that you can spend longer in front of the most famous paintings.
Of his early works, observe the Adoration of the Magi (1475-76): commissioned by Gaspare di Zanobi del Lama for his chapel in the church of Santa Maria Novella. Here, Botticelli introduces some important innovations for the first time: the front view of the scene, with the holy figures in the center, surrounded by the other characters (up to that time, the three kings were always placed to the right or left of the scene); the holy family is located under a partly destroyed hut, with other semi-destroyed buildings in the background. In addition, Botticelli includes in the painting the portraits of Cosimo de Medici, his sons Piero and Giovanni, and his grandsons Lorenzo the Magnificent and Giuliano. The chapel is now destroyed and the painting is on display at the Uffizi.
Botticelli became crippled in his later years and failed to receive painting assignments. He may have continued to work on his set of drawings (never finished) illustrating Dante’s (1265–1321) Divine Comedy. By about 1504, when the young Raphael (1483–1520) came to Florence to observe the new styles of Leonardo da Vinci (1452–1519) and Michelangelo (1475–1564), Botticelli’s art must have seemed old-fashioned, although it had been widely copied in the 1490s.
The Italian painter Botticelli was one of the major artists in Florence during the Renaissance (a period of revived interest in Greek and Roman culture that began in Italy during the fourteenth century).
Botticelli’s artistic and financial highpoint was reached during his middle years when he had contacts, money and fame as a result of the Medici family’s patronage.
Sebastian was born in Narbonne, a southern Fren.