Word: botticelli
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...idea that a portrait should be the "mirror of the soul" as well as a formal utterance about appearance and rank was not born with Titian; Leonardo, Botticelli, Durer and Van Eyck were all his elders, and in his youth he worked with Giorgione, the most shadowed and inward looking of Venetian quattrocento painters, on the fresco decorations of the Fondaco dei Tedeschi. Giorgione's ambition to paint people in the act of thinking, to invent signs for internal reflection as well as external show, was carried forward by Titian into works such as the Louvre's Man with...
What good is a Botticelli by another name? The British Museum offers a panoramic exhibit of fakes, including many that have fooled the experts and come close to equaling the originals...
...since 1904 has there been a proper survey of Sienese Renaissance painting outside Siena. Not even the enthusiasms of Bernard Berenson and his heir Pope-Hennessy could give a Sienese artist like Sassetta the popularity of a Florentine like Botticelli. Even today, Sano di Pietro and the Master of the Osservanza are not exactly names to conjure with. Florence, Siena's political and cultural rival, emerged from their wars victorious in more ways than one. Firenze has always dominated the Western imagination. You cannot imagine the city of Giotto, Masaccio, Donatello, Brunelleschi, Leonardo and Michelangelo any differently: Florence...
...extended essay by Jacob Burckhardt, the 19th century cultural historian best known for his The Civilization of the Renaissance in Italy (1860). Burckhardt's study of Italian altarpieces, originally published in German a year after his death in 1897, remains magisterially informative. And the accompanying reproductions, including work by Botticelli, Fra Angelico, Titian and Michelangelo, do more than supplement Burckhardt's text. They provide miraculous glimpses of an age when the artistic impulse and religious devotion were one and the same...
...history of art. Few of them, in these days of terminally fragile objects and impossible insurance costs, could or should be allowed to travel. An exhibition that dealt with this theme at full stretch would have to include Giorgione's Tempest and his (or Titian's) Concert Champetre, Botticelli's Primavera, Titian's Sacred and Profane Love, Giovanni Bellini's Feast of the Gods, plus any amount of Rubenses, Poussins, Annibale Carraccis, Claudes, Watteaus, Turners and Matisses, not to mention Manet's Dejeuner sur l'Herbe and Seurat's Grande Jatte...