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217:, 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
320:. 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
372:. 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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360:. 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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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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458:(r.1464–1469). Ulmann also suggests that the dark-haired man behind the youngest Magus is
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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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793:. Andreas Schumacher, Matteo Burioni, Alte Pinakothek. Munich. 2018. p. 250.
1199:. Andreas Schumacher, Matteo Burioni, Alte Pinakothek. Munich. 2018. p. 19.
1117:. Andreas Schumacher, Matteo Burioni, Alte Pinakothek. Munich. 2018. p. 79.
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1069:. 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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438:(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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889:"Botticelli :: the Adoration of the Magi :: Uffizi Gallery"
859:(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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462:(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
482:(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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330:" (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
442:(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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734:. Daniel Arasse, Pierluigi De Vecchi. Milan: Skira. 2003.
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Botticelli, the Medici, and Portraits of the Medici Family
968:. Kathleen Christian, Leah Ruth Clark. Manchester. 2017.
687:. Washington: National Gallery of Art. pp. 145–146.
1264:. 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
198:. Gaspare di Zanobi, the son of a barber, was from
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128:. The image of the altarpiece centers on the
1916:Paintings by Sandro Botticelli in the Uffizi
1443:The Story of Nastagio Degli Onesti, part one
853:Hartt, Frederick; Wilkins, David G. (2011).
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450:(1453–1478), and that the last Magus is
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1505:The Discovery of the Body of Holofernes
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1911:Paintings of the Adoration of the Magi
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1632:Scenes from the Life of Saint Zenobius
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490:(b.1453-d.1478), as living portraits.
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919:Ettlinger, L.D. and Helen S. (1977).
386:holds an agate jar from Persia, and
295:The formal elements of Botticelli's
470:includes the Medici family patron,
358:Basilica of Saint Francis of Assisi
24:
1611:The Last Communion of Saint Jerome
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546:List of works by Sandro Botticelli
250:in 1622. In 1796, it moved to the
25:
1927:
1247:The Medici Portraits and Politics
1709:Virgin and Child with Two Angels
1701:Virgin and Child with Two Angels
1603:Lamentation over the Dead Christ
1579:Lamentation over the Dead Christ
1512:The Return of Judith to Bethulia
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356:, including the treasury of the
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1829:Portrait of Giuliano de' Medici
1565:Punishment of the Sons of Korah
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681:MiklĂłs, Boskovits, ed. (2003).
1717:Virgin and Child with an Angel
1687:Madonna in Glory with Seraphim
1657:Virgin and Child with an Angel
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264:
261:for an exhibition in 2022/23.
148:and present him with gifts of
144:. The three kings worship the
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1807:Portrait of Smeralda Brandini
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536:at this point of his career.
480:Giovanni di Cosimo de' Medici
452:Giovanni di Cosimo de' Medici
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27:Painting by Sandro Botticelli
1587:Saint Augustine in His Study
1541:Saint Augustine in His Study
259:Minneapolis Institute of Art
232:Fabio Arrazola de Mondragone
132:and the newborn Jesus, with
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656:Zambrano, Patrizia (2019).
539:
501:, the Company of the Magi.
10:
1932:
1746:Madonna of the Pomegranate
1694:Madonna of the Rose Garden
1022:Pottinger, George (1978).
476:Piero di Cosimo de' Medici
456:Piero di Cosimo de' Medici
248:Villa del Poggio Imperiale
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1798:
1732:Madonna of the Magnificat
1648:
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622:. Princeton Univ. Press.
375:The Adoration of the Magi
211:The Adoration of the Magi
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1498:Sant'Ambrogio Altarpiece
1260:Vasari, Giorgio (1900).
1169:Vasari, Giorgio (1979).
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257:The painting was in the
1279:Zöllner, Frank (2005).
1025:The court of the Medici
519:, Vasari describes the
1789:Madonna del Padiglione
1544:(Florence: Ognissanti)
1407:Pallas and the Centaur
1097:: CS1 maint: others (
1028:. London: Croom Helm.
893:Virtual Uffizi Gallery
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616:Hatfield, Rab (1976).
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523:in the following way:
427:throughout the 1470s.
362:Adoration of the Magi,
244:Francesco I de' Medici
187:
1618:The Mystical Nativity
1595:Pala delle Convertite
1572:Cestello Annunciation
1553:Temptations of Christ
1519:Adoration of the Magi
1471:The Story of Lucretia
1464:The Story of Virginia
1434:Illustrations to the
1231:) CS1 maint: others (
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552:Adoration of the Magi
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370:Adoration of the Magi
314:Life of Christ in art
297:Adoration of the Magi
192:Adoration of the Magi
180:Adoration of the Magi
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142:Adoration of the Magi
101:Adoration of the Magi
33:Adoration of the Magi
1680:Madonna delle Grazie
1665:Madonna della Loggia
1298:Page at artonline.it
124:to find the newborn
1885:Botticelli (crater)
1739:Madonna of the Book
1175:. Harry N. Abrams.
562:(Leonardo da Vinci)
488:Giuliano de' Medici
460:Giuliano de' Medici
448:Giuliano de' Medici
425:Giuliano de' Medici
354:Italian city-states
204:Santa Maria Novella
182:, self portrait of
160:. In addition, the
114:Santa Maria Novella
106:Adorazione dei Magi
1880:(2016 documentary)
1878:Botticelli Inferno
1839:(Washington, D.C.)
1639:The Man of Sorrows
1625:Mystic Crucifixion
1590:(Florence: Uffizi)
1428:Calumny of Apelles
1421:The Birth of Venus
1283:. Prestel-Verlag.
486:(r.1449–1492) and
484:Lorenzo de' Medici
478:(r.1464–1469) and
464:Lorenzo de' Medici
310:Life of the Virgin
188:
1893:
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1672:Madonna and Child
1369:Sandro Botticelli
1281:Sandro Botticelli
1206:978-3-7774-3062-1
1124:978-3-7774-3062-1
975:978-1-5261-2291-9
866:978-0-205-70581-8
800:978-3-7774-3062-1
554:(Filippino Lippi)
472:Cosimo de' Medici
440:Cosimo de' Medici
421:Cosimo de' Medici
404:Sandro Botticelli
284:where the birth (
271:Greco-Roman world
196:Sandro Botticelli
110:Sandro Botticelli
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1311:. Retrieved
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154:frankincense
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134:Saint Joseph
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1847:(Frankfurt)
1844:Young Woman
923:. New York.
444:Medici Bank
417: 1474
324:The "Other"
304:The subject
265:Description
162:Holy Family
130:Virgin Mary
1900:Categories
1855:(Florence)
1660:(Florence)
1522:(Florence)
1313:2017-09-28
1290:3791332732
1215:1030910131
1133:1030910131
984:1200306384
921:Botticelli
898:2022-04-21
809:1030910131
568:References
400:The Medici
240:Mondragone
225:Provenance
184:Botticelli
120:following
118:Three Magi
104:(Italian:
92:, Florence
78:Dimensions
1852:Young Man
1836:Young Man
1814:Young Man
1799:Portraits
1675:(Avignon)
1598:(Trinity)
1490:Religious
1400:Primavera
1393:Fortitude
1223:cite book
1181:605982897
1141:cite book
1093:cite book
992:cite book
929:cite book
875:430523019
817:cite book
758:cite book
638:462476668
521:Adoration
384:Balthazar
334:" of the
332:New World
275:classical
1817:(London)
1767:New York
1720:(Boston)
1704:(Naples)
1649:Madonnas
1582:(Munich)
1322:cite web
1085:52687917
750:54020434
703:52687917
540:See also
380:Melchior
340:Gentiles
286:nativity
236:Marquess
219:Epiphany
86:Location
1870:Related
1762:Glascow
1606:(Milan)
1385:Secular
1044:3940370
513:In his
290:peacock
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388:Caspar
328:Orient
282:manger
278:arcade
252:Uffizi
215:Caspar
200:Empoli
170:Patron
122:a star
70:Medium
47:Artist
516:Lives
509:Style
436:Lives
349:tiraz
158:myrrh
126:Jesus
1562:and
1328:link
1285:ISBN
1233:link
1229:link
1211:OCLC
1201:ISBN
1177:OCLC
1151:link
1147:link
1129:OCLC
1119:ISBN
1099:link
1081:OCLC
1071:ISBN
1040:OCLC
1030:ISBN
1002:link
998:link
980:OCLC
970:ISBN
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871:OCLC
861:ISBN
827:link
823:link
805:OCLC
795:ISBN
764:link
746:OCLC
736:ISBN
699:OCLC
689:ISBN
662:ISBN
634:OCLC
624:ISBN
312:and
156:and
150:gold
98:The
57:Year
434:'s
238:of
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