75:
359:. This work, now at the National Gallery in London, depicts Saint Jerome in the central panel between Pope Damasus, Saint Eusebius, Saint Paula and Saint Eustochium; six angels appear in the sky above and a group of donors kneel below. The painting is unusual for including the central saint in a separate frame, creating a sort of picture-within-a-picture. As described by art critic Charles Darwent, "By giving his picture-within-a-picture of St Jerome its own gilt frame, the artist (Botticini) sets up a sequence of overlapping realities. The framed image exists as a separate artwork for us, the viewer, but also for the painted saints who seem to study it: even holy martyrs, it says, can be moved by the power of art." A drawing once considered a study for the figure of the Saint Jerome in the altarpiece is now recognized as a work by
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71:. Though Botticini's presence in Verrocchio's studio is not documented, it is often inferred on the basis of style. Botticini opened his own workshop by 1469, as reported in an arbitration document from that year. He remained close with his father, who oversaw his working contracts until 1475, when he filed for emancipation. The emancipation was granted in 1477, according to legal records.
201:
The altarpiece's unusual composition and subject was surely dictated by its patrons, who appear in the lower corners of the composition. The background includes a view of
Florence and the Arno valley. Some of Palmieri's properties on the hills of Fiesole, such as the farm included in his wife's
434:, the magazine's art director at the time, came up with the idea and pitched it to Ali. Ali initially liked the connection between the suffering of the Saint and himself, but initially refused to pose as a Christian. He eventually agreed after speaking with the leader of the Nation of Islam,
30:, where he remained active until his death in 1498. Although there are only few documented works by Botticini, a considerable corpus has been confidently attributed to him on the basis of style including a number of altarpieces, dozens of small-scale religious panels and a few portraits.
300:, or circular pictures, invariably of the Virgin and the young Saint John the Baptist, patron saint of Florence, kneeling in adoration of the Christ Child. One such example, in remarkably fine condition, appeared at Sotheby's, London, in 2013. Others can be found at the
163:
this painting has been unanimously attributed to
Botticini since the early twentieth century. The attribution is corroborated by extant documents, which state how the painting was begun in 1475 and completed in 1477. The picture was commissioned by the poet
235:. For Empoli's collegiata church of Sant'Andrew he created two large tabernacles, one dedicated to Saint Sebastian and the other the Holy Sacrament. Both tabernacles are today in the adjoining museum. The larger of the two, the
438:, and studying a postcard of Botticini's painting. The final product shows Ali with his hands bound behind him, arrows piercing his torso, his head tilted upwards in pain, in imitation of Botticini's saint.
228:
and thus covered soon after its completion. This claim is likely fictitious but the donors' faces have indeed been scratched out, clearly indicating the controversies that surrounded
Palmieri's ideas.
320:
Botticini continued to work throughout the last during the last decade of his career, receiving important commissions for
Florence and its surroundings. Around 1490 he painted the
700:
722:
554:
426:. The cover was meant to relate the persecution of Saint Sebastian to that of Muhammad Ali, when we was stripped of his heavyweight boxing title for refusing to serve in the
601:
King, Catherine (1987). "The Dowry Frams of
Niccolosa Sserragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini".
187:
a work initially intended for the Badia but later stolen and taken to Gdansk, Poland. Several preparatory drawings for
Botticini's altarpiece survive in various collections.
946:
King, Catherine. "The Dowry Farms of
Niccolosa Serragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini."
472:
294:
Throughout his career, Botticini painted numerous panels with religious subjects for the homes of
Florentine citizens. He was especially popular as a painter of
74:
47:, or painter of playing cards, from whom he probably received his initial artistic training. By 22 July 1459 was a salaried assistant in the workshop of
454:
794:
963:
Padoa Rizzo, Anna. "Botticini, Francesco." Grove Art Online. Oxford Art Online Oxford: Oxford
University Press, 1996. (accessed 21 February 2017)
239:
was commissioned in 1486 and was largely complete by 1491, when it was installed on the church's high altar. In 1504, however, Botticini's son
692:
243:
was called in to add the finishing touches. Several preparatory drawings survive for the draperies of the saints in the side panels.
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1007:
246:
1037:
370:
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idea that the soul began in heaven and descended to earth, without being crafted by God. Vasari wrote that
Botticini's
953:
Griswold, William M. "Drawings by Francesco Botticini," Master Drawings, vol. 21,no. 2 (Summer 1994): pp. 151–4
1017:
977:, edited by Giovanni Ciappelli and Patricia Lee Rubin (Cambridge: Cambridge University Press, 2000), pp. 67–85
141:
By 1475 Botticini had developed a more personal style, which he first expressed in his most famous work, the large
257:
1027:
325:
1022:
1012:
394:
90:
929:, 2 vols (Chicago: University of Chicago, 1938, [Second Edition: 1969), vol. 1, p. 70, vol. 2, p. 61
852:
Poggi, Giovanni. "Della tavola di Francesco di Giovanni Botticini per la Compagnia di Sant’Andrea di Empoli’,
658:
Branagan, David (2006). "Geology and the artists of the fifteenth and sixteenth century, mainly Florentine".
206:, with the Virgin welcomed by rings of angels and saints, is based on the last stanza of Palmeri's poem, the
288:
182:
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114:
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and linked to a fresco of the saint at the Bargello, Florence, painted by Ghirlandaio's brother-in-law,
1032:
568:
341:
98:
400:
Botticini died in Florence on 16 January 1498 at the age of 51. His workshop was inherited by his son
190:
203:
158:
106:
122:
172:, Florence. However, some scholars believe it was instead intended for Palmieri's chapel in the
866:
Bacci, Piero. ‘Una tavola sconosciuta con San Sebastiano di Francesco di Giovanni Botticini’,
824:
52:
1002:
997:
360:
334:
Madonna and Child with Two Angels and Saints Benedict, Francis, Sylvester and Anthony Abbot
64:
168:
and his wife Niccolosa, presumably for their burial chapel in the now-destroyed church of
8:
401:
284:
240:
22:(real name Francesco di Giovanni, 1446 – 16 January 1498) was an Italian painter of the
283:
for the meeting room of the Confraternity of San Domenico del Giglio at the basilica of
43:
Botticini was born in Florence in 1446. His father was Giovanni di Domenico di Piero, a
618:
521:
414:
208:
51:. Botticini left Neri's workshop in 24 July 1460. He eventually came into contact with
364:
150:
56:
23:
765:
Degenhart, Bernhard (December 1930). "Francesco Botticini, Study of a St. Jerome".
610:
393:
for the Rinuccini chapel in San Pier Scheraggio, Florence. This work is now at the
146:
60:
268:
435:
173:
165:
68:
828:
391:
Madonna and Child with Saint Francis, the Archangel Raphael and the Young Tobias
231:
In the 1480s Botticini was consistently employed in Florence as well as nearby
154:
911:
Fahy, Everett. "Some Early Italian Pictures in the Gambier Parry Collection,"
347:
In the mid-1490s he completed his most ambitious late altarpiece, an imposing
79:
Saint Nicolas Enthroned between Saints Catherine, Lucy, Margaret and Apollonia
991:
309:
301:
48:
355:), commissioned by wealthy Rucellai family for the convent of San Girolamo,
884:, 19 vols (The Hague: Nijhoff, 1923-1938), vol. 13 (1931), pp. 390–427
423:
177:
512:
Bagemihl, Rolf (May 1996). "Francesco Botticini's Palmieri Altar-Piece".
431:
427:
296:
898:(London: National Gallery, 1951, [Second Edition, 1961), pp. 118–27
117:, Paris, which is painted under the strong influence of Verrocchio. The
622:
125:, Florence, is usually dated-also dated-to this year, as is the famous
525:
337:
217:
111:
Madonna and Child with Saints Sebastian, Pancras, Sebastian and Peter
934:
The Metropolitan Museum of Art, Italian Paintings: Florentine School
639:
Griswold, William (Summer 1994). "Drawings by Francesco Botticini".
614:
849:, edited by Bruno Santi (Pisa, 1976), pp. 126–7, 333 (Italian)
27:
783:. Edinburgh: National Galleries of Scotland. 2000. pp. 78–79.
750:
Darwent, Charles (July 2011). "All Things Bright and Beautiful".
356:
273:
Drapery Study for Saint Andrew in the Tabernacle of the Sacrament
176:(outside Florence) because the dimensions are almost the same as
322:
Madonna and Child in Glory with Saints Mary Magdalen and Bernard
329:
305:
232:
225:
130:
966:
Bagemihl, Rolf. "Francesco Botticini's Palmieri Altar-Piece."
541:
THE VERROCCHIO WORKSHOP: Techniques, production and Influences
936:(New York: Metropolitan Museum of Art, 1971), pp. 125–7
109:
in Alabama. His earliest dated work is an altarpiece of the
795:"How Muhammad Ali's 'Esquire' Cover Helped Cement a Legend"
973:
Rubin, Patricia Lee, "Art and the imagery of memory," in
569:"Madonna Adoring the Christ Child - Francesco Botticini"
202:
dowry, are clearly discernible. The interpretation of
723:"Metropolitan Museum of Art - Search the Collections"
422:
at the Metropolitan Museum of Art in a cover shot of
251:
Madonna adoring the Child with Saint John the Baptist
982:
Visions of Paradise: Botticini's Palmieri Altarpiece
918:
Bellosi, Luciano. "Intorno ad Andrea del Castagno,"
781:'A Poet in Paradise': Lord Lindsay and Christian Art
583:"The Assumption of the Virgin - Francesco Botticini"
81:, circa 1465. Tokyo, National Museum of Western Art.
989:
397:, Edinburgh, on loan from a private collection.
975:Art, memory, and family in Renaissance Florence
389:In 1495 Botticini painted an altarpiece of the
279:In 1488 Botticini painted an altarpiece of the
939:Padoa Rizzo, Anna. "Per Francesco Botticini,"
882:The Development of Italian Schools of Painting
737:"Francesco Botticini | S. Gerolamo Altarpiece"
543:. University of Louisville. pp. 221–226.
873:Degenhart, Bernhard. "Francesco Botticini,"
253:, 1480s. Sold at Sotheby's, London, in 2013.
119:Saint Monica Enthroned with Augustinian Nuns
404:, who had a prolific activity of his own.
324:, formerly at theFlorentine church of the
264:, 1486-91. Empoli, Museo della Collegiata.
922:, vol. 9, no. 211 (1967): pp. 10–15.
887:Shaw, James Byam. "Francesco Botticini,"
764:
676:
489:
275:, circa 1486-91. Turin, Biblioteca Reale.
657:
638:
511:
407:
385:), late 1490s. London, National Gallery.
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267:
256:
245:
189:
73:
932:Zeri, Federico and Gardner, Elizabeth.
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555:"Francesco Botticini - Saint Sebastian"
224:, like Palmieri's poem, was considered
85:Botticini's earliest works include the
990:
538:
127:Three Archangels with the Young Tobias
55:, in whose workshop he would have met
681:. Florence: Edifir. pp. 122–123.
634:
632:
470:
87:Saint Nicholas and Four Female Saints
903:Italian Pictures of the Renaissance:
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514:Burlington Magazine Publications LTD
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466:
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204:Mary's bodily assumption into heaven
927:The Drawings of Florentine Painters
908:(London: Phaidon, 1963), p. 39
870:n.s. iv (1924–25): pp. 337–50.
375:Saint Jerome with Angels and Saints
349:Saint Jerome with Saints and Angels
336:for the Compagnia della Vergine in
216:The poem describes a controversial
13:
743:
703:from the original on 24 April 2017
685:
629:
197:1475-77. London, National Gallery.
14:
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984:. London: National Gallery, 2015.
970:138, no. 1118 (1996): pp. 308-14.
856:, vol. 3 (1905): pp. 258–64.
589:
532:
498:
471:Rizzo, Anna Padoa (26 May 2010).
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943:, vol. 5/6 (1976): pp. 3–19
948:Zeitschrift Für Kunstgeschichte
812:
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729:
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603:Zeitschrift für Kunstgeschichte
340:(west of Florence), now at the
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539:Serros, Richard David (1999).
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395:National Galleries of Scotland
91:National Museum of Western Art
1:
1008:15th-century Italian painters
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38:
1038:Italian Renaissance painters
754:. London, United Kingdom: 6.
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237:Tabernacle of the Sacrament,
7:
896:The Earlier Italian Schools
332:, and in 1493 he painted a
262:Tabernacle of the Sacrament
136:
16:Italian painter (1446-1498)
10:
1054:
863:. Strassburg: Heitz, 1906.
660:Geology Society of America
342:Metropolitan Museum of Art
99:Metropolitan Museum of Art
950:50, no. 2 (1987): 275-78.
752:The Independent on Sunday
195:Assumption of the Virgin,
103:Madonna adoring the Child
915:(1967): pp. 128–39.
847:Le ricordanze, 1453–1475
677:Venturini, Lisa (1994).
490:Venturini, Lisa (1994).
441:
147:National Gallery, London
143:Assumption of the Virgin
107:Birmingham Museum of Art
1018:Italian Roman Catholics
968:The Burlington Magazine
960:Florence: Edifir, 1994.
913:The Burlington Magazine
891:, vol. 9 (1935): p. 58.
877:, vol. 5 (1931): p. 49.
383:San Gerolamo Altarpiece
353:San Gerolamo Altarpiece
287:, Florence, now at the
33:
1028:Painters from Florence
473:"Botticini, Francesco"
386:
289:Musée Jacquemart-André
281:Pietà with Four Saints
276:
265:
254:
198:
115:Musée Jacquemart-André
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1023:Italian male painters
1013:Quattrocento painters
693:"Francesco Botticini"
418:imitated Botticini's
408:Posthumous reputation
373:
271:
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149:. Wrongly attributed
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53:Andrea del Verrocchio
958:Francesco Botticini.
880:Van Marle, Raimond.
361:Domenico Ghirlandaio
159:Lives of the Artists
65:Domenico Ghirlandaio
925:Berenson, Bernard.
901:Berenson, Bernard.
889:Old Master Drawings
875:Old Master Drawings
861:Francesco Botticini
767:Old Master Drawings
679:Francesco Botticini
494:. Florence: Edifir.
492:Francesco Botticini
455:Getty Museum entry.
402:Raffaello Botticini
285:Santa Maria Novella
20:Francesco Botticini
980:Sliwka, Jennifer.
868:Bollettino d'Arte,
387:
277:
266:
255:
199:
101:, New York, and a
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1033:Catholic painters
956:Venturini, Lisa.
906:Florentine School
520:(1118): 308–314.
477:Oxford Art Online
365:Bastiano Mainardi
308:, Paris; and the
302:Galleria Palatina
170:San Pier Maggiore
57:Leonardo da Vinci
26:. He was born in
24:Early Renaissance
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819:"This Way In".
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420:Saint Sebastian
412:In April 1968,
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328:and now at the
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174:Badia Fiesolana
166:Matteo Palmieri
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95:Saint Sebastian
69:Pietro Perugino
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1003:1498 deaths
998:1446 births
432:George Lois
428:Vietnam War
93:, Tokyo, a
992:Categories
840:References
647:: 151–154.
222:Assumption
151:Botticelli
39:Early work
829:210369046
697:Sotheby's
338:Fucecchio
316:Late work
291:, Paris.
241:Raffaello
226:heretical
218:Lucretian
920:Paragone
825:ProQuest
823:. 2008.
804:23 April
769:: 49–51.
707:24 April
701:Archived
699:. 2013.
666:: 31–35.
379:Rucellai
326:Cestello
137:Maturity
28:Florence
821:Esquire
623:1482328
357:Fiesole
145:at the
129:at the
105:at the
97:at the
89:at the
45:naibaio
827:
621:
526:886902
524:
330:Louvre
306:Louvre
233:Empoli
212:(1465)
131:Uffizi
67:, and
619:JSTOR
522:JSTOR
442:Notes
377:(the
351:(the
297:tondi
806:2017
709:2017
34:Life
664:411
611:doi
518:138
381:or
344:.
180:'s
153:in
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