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206:, one of the three magi, and thus may account in part for the choice of the subject of the painting). Gaspare can be seen in the middle of the group of figures located to the right of the central scene. He is shown as an older man with white-grey hair who wears a blue robe and makes eye contact with the viewer. The figure who stands at the far right of the painting's foreground wears a yellow and gold-colored cloak and has been accepted by most scholars to be a self-portrait of the artist, Botticelli. Gaspare di Zanobi's private chapel was dedicated on January 6, the feast day for the
309:. Botticelli was commissioned to paint it at least seven times. Patrons and painters throughout Europe were particularly drawn to this story, especially in Florence, Italy. Wealthy patrons may have been particularly drawn to the display of riches and finery that were displayed in the magi's expensive and exotic clothes and gifts. In Italian cities such as Florence many patrons were themselves involved in international trade, including with parts of the Islamic world.
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of the heads in this scene is indescribable, their attitudes all different, some full-face, some in profile, some three-quarters, some bent down, and in various other ways, while the expressions of the attendants, both young and old, are greatly varied, displaying the artist's perfect mastery of his
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include solid, firm figures, and intense, saturated colors, especially reds. These elements helped the painting stand out on the altar, as it was competing with a magnificent frame and was muted by limited lighting. It is important to consider in which conditions the painting would have been viewed
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It is also possible that their portraits were used to convey the desire for divine protection for the Medici family. Whether
Botticelli's intimate relations with the Medici brothers allowed the wealthy Gaspare to introduce the portraits of their kinsmen in his altar-piece, or Gaspare was glad for
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Identifiable clothing was one of the main ways the "Other" was depicted. For instance, many of the figures are shown wearing different types of textiles that have bands of gold at the shoulders and the hems; these likely refer to Asian textiles known as "tartar cloths" or
Islamic-style
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holds a blue and white
Chinese porcelain bowl. The objects represented in these paintings likely referred to similar objects in both royal and ecclesiastical collections, as well as those luxury items far-away lands available at markets in places like Florence and Venice.
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at the time it was created: after sundown, it would have been viewed in candlelight, which may have caused the reds to become warm and to appear as if they were glowing. This glow is not visible today as the painting is now lit by artificial lighting.
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The painting was passed down to the descendants of
Gasparre di Zanobi del Lama and remained in its original location for nearly 100 years. The rights to the altar were transferred to the Fedini family around 1522. The altar was then passed on to
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Another way the idea of "Other" is demonstrated was by the inclusion of rare and exotic objects in artistic representations. There are several different types of gold cups and receptacles that are presented by the three kings
Botticelli's
361:. In other versions of this subject by various artists, different types of expensive luxury items were included in the story thereby reflecting Christian European fascination with the exotic. For example, Andrea Mantegna's
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this opportunity to pay a graceful compliment to these powerful personages is hard to tell. It is, however, apparent from the great pains
Botticelli took with these figures, that this formed an important part of the task.
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349:. Luxury textiles from Asia and Islamic lands became signifiers of wealth, prestige and thus functioned as status symbols—when included in a religious painting like Botticelli's
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developed a close relationship with the Medici family. The Medici family commissioned a series of artworks painted by
Botticelli throughout the late 1400s. These works include
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shows just how influential the family was in
Italian society at the time. Moreover, the Medici were customarily shown as the magi because they were members of the Florentine
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Around the year 1475, the
Florentine banker and financial broker, Gaspare di Zanobi del Lama (alternately spelled: Guasparre dal Lama; Lami) commissioned the painting of the
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443:, the son of Cosimo de' Medici. Another interpretation comes from Heinrich Ulmann's 1983 monograph on Botticelli in which he proposed that the central Magus is actually
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is a term used by art historians today that describes how
Europeans viewers cast unknown peoples and foreigners, including Muslims, Jews and peoples from the so-called "
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in the middle ground at the left. The Virgin Mary, Saint Joseph, and the Christ Child are sitting upon one of these classical ruins that served as a makeshift
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profession. Sandro further clearly shows the distinction between the suites of each of the kings. It is a marvelous work in colour, design and composition.
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to recognise Christ, and legendary accretions to the story made each represent a different part of the world beyond Europe and the Middle East.
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There are different theories of who is included or if they are even included at all. One interpretation comes from the first edition of
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The attention to details, such as the garments rendering, shows the acquisition by the Florentine artist of the influences from the
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textiles with inscriptions. Examples of these exotic luxury goods were available in various church collections across the different
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is perched at the right. The star of Bethlehem radiates gold rays at the top of the painting, highlighting the Virgin and Child.
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The chapel, and therefore the painting, would have been visible to the public. The panel depicts the biblical story of
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they functioned as a way to bestow honor and glory on images of holy figures and well as the patron.
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and so frequently painted throughout the fifteenth by artists including Botticelli, and his mentor
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is surrounded by a group of people who came to see the child who was said to be the son of God.
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The story of the Adoration of the Magi (or "Kings") was a standard episode in cycles of the
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447:(r.1464–1469). Ulmann also suggests that the dark-haired man behind the youngest Magus is
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327:(who do not appear in this subject). In theology the Three Magi represented the first
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Botticelli's scene is set within a landscape that includes classical ruins from the
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from 1429 to 1464. Vasari goes on to write that the Magus in the middle represents
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782:. Andreas Schumacher, Matteo Burioni, Alte Pinakothek. Munich. 2018. p. 250.
1188:. Andreas Schumacher, Matteo Burioni, Alte Pinakothek. Munich. 2018. p. 19.
1106:. Andreas Schumacher, Matteo Burioni, Alte Pinakothek. Munich. 2018. p. 79.
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1058:. MiklĂłs. Boskovits. Washington: National Gallery of Art. 2003. p. 145.
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were a very powerful and wealthy family in Italy in the 1400s. In the 1470s,
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111 cm Ă— 134 cm (44 in Ă— 53 in)
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427:(1500). Vasari wrote that the oldest Magus, Caspar, was a depiction of
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behind them. Before them are the three kings who are described in the
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878:"Botticelli :: the Adoration of the Magi :: Uffizi Gallery"
848:(7th ed.). Upper Saddle River: Prentice Hall. pp. 332–333.
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History of Italian Renaissance Art: Painting, Sculpture, Architecture
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451:(b.1453-d.1478) and that the young man with the sword on the left is
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Botticelli's Uffizi 'Adoration' : a study in pictorial content
471:(b.1421-d.1463), as posthumous portraits, as well as his grandsons
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Florence and its painters : from Giotto to Leonardo da Vinci
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Florence and its painters : from Giotto to Leonardo da Vinci
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Florence and its painters : from Giotto to Leonardo da Vinci
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319:" (the East), as well as indigenous cultures from the so-called "
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The Lives of the Painters, Sculptors & Architects, Volume 3
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Lives of the most eminent painters, sculptors, and architects
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around 1475. This painting depicts the Biblical story of the
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Venus and the Three Graces Presenting Gifts to a Young Woman
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Botticelli : from Lorenzo the Magnificent to Savonarola
431:(r.1434–1464), who was the head of the Medici household and
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Gallery in Florence, Italy, where it remains to this day.
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723:. Daniel Arasse, Pierluigi De Vecchi. Milan: Skira. 2003.
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Botticelli, the Medici, and Portraits of the Medici Family
957:. Kathleen Christian, Leah Ruth Clark. Manchester. 2017.
676:. Washington: National Gallery of Art. pp. 145–146.
1253:. University of California: J.M. Dent. pp. 106–107.
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Portrait of a Young Man with a Medal of Cosimo the Elder
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Virgin and Child with the Young Saint John the Baptist
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A Young Man Being Introduced to the Seven Liberal Arts
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The inclusion of the Medici portraits in Botticelli's
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Virgin and Child with the Infant St. John the Baptist
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Sandro Botticelli and the birth of modern portraiture
187:. Gaspare di Zanobi, the son of a barber, was from
1811:Portrait of a Man with a Medal of Cosimo the Elder
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1238:. New Haven: Yale University Press. p. 26.
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117:. The image of the altarpiece centers on the
1905:Paintings by Sandro Botticelli in the Uffizi
1432:The Story of Nastagio Degli Onesti, part one
842:Hartt, Frederick; Wilkins, David G. (2011).
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439:(1453–1478), and that the last Magus is
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1494:The Discovery of the Body of Holofernes
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1900:Paintings of the Adoration of the Magi
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1621:Scenes from the Life of Saint Zenobius
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479:(b.1453-d.1478), as living portraits.
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908:Ettlinger, L.D. and Helen S. (1977).
375:holds an agate jar from Persia, and
284:The formal elements of Botticelli's
459:includes the Medici family patron,
347:Basilica of Saint Francis of Assisi
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1600:The Last Communion of Saint Jerome
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535:List of works by Sandro Botticelli
239:in 1622. In 1796, it moved to the
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1236:The Medici Portraits and Politics
1698:Virgin and Child with Two Angels
1690:Virgin and Child with Two Angels
1592:Lamentation over the Dead Christ
1568:Lamentation over the Dead Christ
1501:The Return of Judith to Bethulia
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345:, including the treasury of the
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1818:Portrait of Giuliano de' Medici
1554:Punishment of the Sons of Korah
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670:MiklĂłs, Boskovits, ed. (2003).
1706:Virgin and Child with an Angel
1676:Madonna in Glory with Seraphim
1646:Virgin and Child with an Angel
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250:for an exhibition in 2022/23.
137:and present him with gifts of
133:. The three kings worship the
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1796:Portrait of Smeralda Brandini
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525:at this point of his career.
469:Giovanni di Cosimo de' Medici
441:Giovanni di Cosimo de' Medici
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16:Painting by Sandro Botticelli
1576:Saint Augustine in His Study
1530:Saint Augustine in His Study
248:Minneapolis Institute of Art
221:Fabio Arrazola de Mondragone
121:and the newborn Jesus, with
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645:Zambrano, Patrizia (2019).
528:
490:, the Company of the Magi.
10:
1921:
1735:Madonna of the Pomegranate
1683:Madonna of the Rose Garden
1011:Pottinger, George (1978).
465:Piero di Cosimo de' Medici
445:Piero di Cosimo de' Medici
237:Villa del Poggio Imperiale
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1721:Madonna of the Magnificat
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611:. Princeton Univ. Press.
364:The Adoration of the Magi
200:The Adoration of the Magi
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1487:Sant'Ambrogio Altarpiece
1249:Vasari, Giorgio (1900).
1158:Vasari, Giorgio (1979).
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246:The painting was in the
1268:Zöllner, Frank (2005).
1014:The court of the Medici
508:, Vasari describes the
1778:Madonna del Padiglione
1533:(Florence: Ognissanti)
1396:Pallas and the Centaur
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1017:. London: Croom Helm.
882:Virtual Uffizi Gallery
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605:Hatfield, Rab (1976).
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512:in the following way:
416:throughout the 1470s.
351:Adoration of the Magi,
233:Francesco I de' Medici
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1607:The Mystical Nativity
1584:Pala delle Convertite
1561:Cestello Annunciation
1542:Temptations of Christ
1508:Adoration of the Magi
1460:The Story of Lucretia
1453:The Story of Virginia
1423:Illustrations to the
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549:Adoration of the Magi
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303:Life of Christ in art
286:Adoration of the Magi
181:Adoration of the Magi
169:Adoration of the Magi
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131:Adoration of the Magi
90:Adoration of the Magi
22:Adoration of the Magi
1669:Madonna delle Grazie
1654:Madonna della Loggia
1287:Page at artonline.it
113:to find the newborn
1874:Botticelli (crater)
1728:Madonna of the Book
1164:. Harry N. Abrams.
551:(Leonardo da Vinci)
477:Giuliano de' Medici
449:Giuliano de' Medici
437:Giuliano de' Medici
414:Giuliano de' Medici
343:Italian city-states
193:Santa Maria Novella
171:, self portrait of
149:. In addition, the
103:Santa Maria Novella
95:Adorazione dei Magi
1869:(2016 documentary)
1867:Botticelli Inferno
1828:(Washington, D.C.)
1628:The Man of Sorrows
1614:Mystic Crucifixion
1579:(Florence: Uffizi)
1417:Calumny of Apelles
1410:The Birth of Venus
1272:. Prestel-Verlag.
475:(r.1449–1492) and
473:Lorenzo de' Medici
467:(r.1464–1469) and
453:Lorenzo de' Medici
299:Life of the Virgin
177:
1882:
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1661:Madonna and Child
1358:Sandro Botticelli
1270:Sandro Botticelli
1195:978-3-7774-3062-1
1113:978-3-7774-3062-1
964:978-1-5261-2291-9
855:978-0-205-70581-8
789:978-3-7774-3062-1
543:(Filippino Lippi)
461:Cosimo de' Medici
429:Cosimo de' Medici
410:Cosimo de' Medici
393:Sandro Botticelli
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1833:Young Woman
912:. New York.
433:Medici Bank
406: 1474
313:The "Other"
293:The subject
254:Description
151:Holy Family
119:Virgin Mary
1889:Categories
1844:(Florence)
1649:(Florence)
1511:(Florence)
1302:2017-09-28
1279:3791332732
1204:1030910131
1122:1030910131
973:1200306384
910:Botticelli
887:2022-04-21
798:1030910131
557:References
389:The Medici
229:Mondragone
214:Provenance
173:Botticelli
109:following
107:Three Magi
93:(Italian:
81:, Florence
67:Dimensions
1841:Young Man
1825:Young Man
1803:Young Man
1788:Portraits
1664:(Avignon)
1587:(Trinity)
1479:Religious
1389:Primavera
1382:Fortitude
1212:cite book
1170:605982897
1130:cite book
1082:cite book
981:cite book
918:cite book
864:430523019
806:cite book
747:cite book
627:462476668
510:Adoration
373:Balthazar
323:" of the
321:New World
264:classical
1806:(London)
1756:New York
1709:(Boston)
1693:(Naples)
1638:Madonnas
1571:(Munich)
1311:cite web
1074:52687917
739:54020434
692:52687917
529:See also
369:Melchior
329:Gentiles
275:nativity
225:Marquess
208:Epiphany
75:Location
1859:Related
1751:Glascow
1595:(Milan)
1374:Secular
1033:3940370
502:In his
279:peacock
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377:Caspar
317:Orient
271:manger
267:arcade
241:Uffizi
204:Caspar
189:Empoli
159:Patron
111:a star
59:Medium
36:Artist
505:Lives
498:Style
425:Lives
338:tiraz
147:myrrh
115:Jesus
1551:and
1317:link
1274:ISBN
1222:link
1218:link
1200:OCLC
1190:ISBN
1166:OCLC
1140:link
1136:link
1118:OCLC
1108:ISBN
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1070:OCLC
1060:ISBN
1029:OCLC
1019:ISBN
991:link
987:link
969:OCLC
959:ISBN
924:link
860:OCLC
850:ISBN
816:link
812:link
794:OCLC
784:ISBN
753:link
735:OCLC
725:ISBN
688:OCLC
678:ISBN
651:ISBN
623:OCLC
613:ISBN
301:and
145:and
139:gold
87:The
46:Year
423:'s
227:of
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183:by
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