What is Sandro Botticelli's full birth name and when was he born?

Sandro Botticelli's full birth name was Alessandro di Mariano di Vanni Filipepi. He was born in Florence, Republic of Florence, around the year 1445.

Where did Botticelli spend most of his life, and where was he buried?

Botticelli lived his entire life in the same neighborhood of Florence where he was born, Borgo Ognissanti. He was also buried in his neighborhood church, Ognissanti ("All Saints").

What was Botticelli's father's profession, and how might this have influenced the family's connections?

Botticelli's father, Mariano di Vanni d'Amedeo Filipepi, was initially a tanner and later became a gold-beater. This profession likely brought the family into contact with various artists and potentially affluent patrons.

What is the origin of Botticelli's nickname, and what does it mean?

The nickname "Botticelli," meaning "little barrel," originated from his brother Giovanni, who was called Botticello, likely due to his stout build. Sandro later adopted this name, and it became how he is widely known.

Who was Botticelli's primary teacher in painting, and what stylistic elements did he learn from him?

Botticelli was apprenticed to Fra Filippo Lippi, a leading Florentine painter, from around 1461 or 1462. From Lippi, Botticelli learned to create intimate compositions featuring beautiful, melancholic figures rendered with clear contours and subtle contrasts of light and shadow.

Besides Fra Filippo Lippi, which other artists' workshops have been speculated as potential training grounds for Botticelli, though without definitive proof?

While not definitively proven, art historians have speculated that Botticelli may have spent time in the workshops of the Pollaiuolo brothers or Andrea del Verrocchio, as both artists significantly influenced his artistic development.

What was Botticelli's earliest surviving altarpiece, and what does it demonstrate about his skill?

Botticelli's earliest surviving altarpiece is a *sacra conversazione* (holy conversation) dating from about 1470-72, now housed in the Uffizi. This work demonstrates his early mastery of composition, arranging figures with natural ease within an architectural setting.

How did Botticelli's *Adoration of the Magi* (c. 1475-76) contribute to his growing reputation?

The *Adoration of the Magi*, painted for the prominent church of Santa Maria Novella, was widely seen by visitors and praised by Vasari, thus spreading Botticelli's fame. It also notably included portraits of the Medici family, highlighting his connection to influential patrons.

What significant commission did Botticelli undertake in Rome in 1481, and for whom?

In 1481, Botticelli was summoned by Pope Sixtus IV to fresco the walls of the newly completed Sistine Chapel. This major project involved several prominent artists of the time and was intended to be the primary decoration of the chapel.

How did Botticelli's compositional style differ from his colleagues in the Sistine Chapel?

Botticelli tended to impose a more distinct triptych-like composition on his scenes, dividing them into a central group flanked by two side groups depicting different incidents. This structured approach set his work apart from his contemporaries working on the chapel walls.

What are considered Botticelli's two most famous mythological masterpieces, and where are they housed?

Botticelli's most famous mythological masterpieces are *Primavera* (c. 1482) and *The Birth of Venus* (c. 1485). Both of these iconic paintings are housed in the Uffizi Gallery in Florence.

What made Botticelli's large-scale mythological paintings like *Primavera* and *The Birth of Venus* unprecedented in Western art?

These paintings were unprecedented because they depicted subjects from classical mythology on a very large scale, a practice not seen in Western art since classical antiquity. They also explored themes influenced by Renaissance Neoplatonism and contemporary humanist thought.

What is the significance of the wasps depicted in Botticelli's *Venus and Mars*?

The wasps buzzing around Mars' head in *Venus and Mars* likely allude to the Vespucci family, Botticelli's neighbors, whose name translates to "little wasps" in Italian and who featured wasps in their coat of arms. This suggests the painting may have been commissioned by or for a member of that family.

Which painting is Botticelli's only work inscribed with a date, and what is that date?

Botticelli's *The Mystical Nativity*, housed in the National Gallery in London, is the only painting by him that is inscribed with a date, which is cryptically expressed as late 1500.

How did Botticelli's style evolve in his later religious paintings, such as the *San Barnaba Altarpiece*?

In later works like the *San Barnaba Altarpiece* (c. 1487), Botticelli's style began to show elements of emotional intensity, with some figures having larger heads and more varied, intense expressions, moving towards what is described as his "late style."

What is notable about the *San Marco Altarpiece* in terms of its composition and surviving elements?

Botticelli's *San Marco Altarpiece* is his largest altarpiece and is unique in that it remains with its complete *predella* (a series of small paintings originally beneath the main altarpiece), consisting of five panels.

What stylistic characteristics are observed in Botticelli's *Cestello Annunciation* and related late paintings?

The *Cestello Annunciation* (1489-90) and other late works exhibit a sombre background coloring, exaggerated expressiveness in the figures' poses, and detailed, dark landscape backgrounds that draw inspiration from Northern European models, possibly prints.

What did Botticelli's *Lamentation of Christ* paintings depict, and how did their formats differ?

Botticelli's *Lamentation of Christ* paintings depict crowded, intertwined figures around the dead Christ, with the Virgin Mary having swooned. One version is vertical, painted for a pillar in Santa Maria Maggiore, Florence, while the other is horizontal, painted for a chapel on Botticelli's street.

What unusual subject matter did Botticelli depict in the *Pala delle Convertite*?

The *Pala delle Convertite*, painted for an institution for ex-prostitutes around 1491-93, unusually depicts the Holy Trinity with Christ on the cross, supported by God the Father, flanked by saints, and includes a small scene of Tobias and the Angel in the foreground.

What was Botticelli's contribution to the popularization of the tondo format in paintings?

Botticelli was one of the first painters to utilize the round tondo format for paintings, particularly for Madonnas, which were popular for both private homes and churches. He was more likely to paint tondo Madonnas himself compared to rectangular ones.

How did Botticelli's idealized female figures, often associated with Simonetta Vespucci, relate to his Madonnas?

Botticelli's idealized female figures, though sometimes linked to Simonetta Vespucci, served as a secular counterpart to his depictions of the Madonna and Child, sharing a similar idealized beauty and grace.

What was the nature of Botticelli's relationship with the Medici family?

Botticelli was associated with the Florentine School patronized by the Medici, particularly Lorenzo il Magnifico, whose humanist circle influenced Botticelli's mythological works. While Lorenzo didn't commission extensively from Botticelli, other Medici allies and family members were patrons.

How did the Pazzi conspiracy of 1478 impact Botticelli's work or reputation?

Following the Pazzi conspiracy, Botticelli painted large frescoes depicting the humiliation of the conspirators for the Florentine state, a practice known as *pittura infamante*. These frescoes were later destroyed, but the commission may have led to his summons to Rome for the Sistine Chapel.

According to Vasari, what was Botticelli's relationship with Girolamo Savonarola, and what effect did it supposedly have on his art?

Vasari claimed Botticelli became a follower of the friar Girolamo Savonarola, leading him to abandon painting and fall into financial distress. However, modern art historians debate the extent of this influence and Botticelli's complete cessation of work.

What stylistic shifts are noted in Botticelli's very late works, and how have they been interpreted?

Botticelli's very late works show a diminution in scale, expressive distortion of figures, and non-naturalistic color, reminiscent of earlier Gothic styles. Some scholars see premonitions of Mannerism in the simplified, expressive depiction of emotions.

What did Vasari say about Botticelli's financial management and his later years?

Vasari suggested that Botticelli earned a lot of money but managed it poorly, leading to financial difficulties in his old age. Vasari also described Botticelli as being ill and decrepit in his final years, needing crutches.

What evidence exists regarding Botticelli's personal life and potential relationships?

Botticelli never married and reportedly disliked the idea. While there's speculation about a platonic love for Simonetta Vespucci, whom he requested to be buried near, a 1502 record also mentions an accusation of him "keeping a boy," though the significance of this charge is debated.

How did Botticelli's reputation change after his death?

After his death, Botticelli's reputation was eclipsed more thoroughly than that of many other major European artists. His works remained in their original locations, and his Sistine Chapel frescoes were overshadowed by Michelangelo's. His rediscovery and appreciation began in the 19th century, notably with the Pre-Raphaelites and subsequent art historical studies.

What was the significance of Botticelli's attempt to design illustrations for a printed book?

Botticelli's involvement in designing illustrations for the printed edition of Dante's *Divine Comedy* in 1481 was unprecedented for a leading painter. Although the project had issues with the engraver and completion, it marked an important future role for artists in printmaking.

What is known about Botticelli's later work on illustrating Dante's *Divine Comedy* in manuscript form?

Botticelli later began a luxury manuscript of Dante's *Divine Comedy* on parchment, which survives in 93 pages, mostly as underdrawings. This project, likely undertaken over a long period, was never fully completed but is admired for its artistic quality and represents the bulk of Botticelli's surviving drawings.

How did Botticelli's association with the Medici family shape his career?

Botticelli's career was significantly shaped by the patronage and cultural environment fostered by the Medici family, particularly Lorenzo il Magnifico. This patronage provided opportunities for him to create mythological works influenced by Neoplatonism and humanist thought, and connected him with influential Florentine society.

What does the phrase "Festina Lente" associated with the Medici coat of arms signify?

"Festina Lente," meaning "make haste slowly," is a Latin phrase associated with the Medici coat of arms, symbolizing a philosophy of careful and deliberate action.

What was the context for Botticelli's frescoes in the Sistine Chapel, and how did they relate to political events?

The frescoes Botticelli painted in the Sistine Chapel in 1481-82 were part of a larger decorative scheme commissioned by Pope Sixtus IV. Their creation is thought to be linked to a peace initiative between Lorenzo de' Medici and the papacy, following hostilities that had escalated after the Pazzi conspiracy.

What is the significance of Botticelli's *Pallas and the Centaur* in relation to Renaissance Neoplatonism?

*Pallas and the Centaur* is often interpreted through the lens of Renaissance Neoplatonism, a philosophical movement that sought to reconcile classical thought with Christian theology. The painting's depiction of Pallas Athena subduing the centaur can symbolize the triumph of reason and virtue over base passions, a concept central to Neoplatonic thought.

How did Botticelli's late work, particularly the *Scenes from the Life of Saint Zenobius*, reflect a shift in his artistic approach?

The *Scenes from the Life of Saint Zenobius* exemplify Botticelli's late style, which moved away from the idealized beauty of his earlier mythological works. This shift is evident in the reduced scale of figures, their expressive distortions, and the use of non-naturalistic colors, creating a more austere and emotionally charged effect.

What impact did the Pre-Raphaelites have on Botticelli's reputation?

The Pre-Raphaelite Brotherhood, inspired by Botticelli's linear grace and idealized figures, helped stimulate a reappraisal of his work in the late 19th century. This movement contributed significantly to his rediscovery and subsequent rise in fame.

What is the significance of Botticelli's *Saint Sebastian* (1474) in relation to contemporary works?

Botticelli's *Saint Sebastian*, painted for Santa Maria Maggiore in Florence, was created shortly after the Pollaiuolo brothers' larger altarpiece of the same subject. While similar in pose, Botticelli's figure is depicted as calmer and more poised, showcasing his careful study of anatomy and delicate rendering of a winter landscape inspired by Early Netherlandish painting.

How did Botticelli's work on the *Divine Comedy* illustrations differ between the printed edition and the manuscript version?

For the printed edition of Dante's *Divine Comedy* (1481), Botticelli provided drawings for engravings by Baccio Baldini, which were limited in number and quality. Later, he began a more luxurious manuscript version on parchment, featuring detailed underdrawings and some illuminations, which was never fully completed but survives as a significant collection of his drawings.

What is the significance of Botticelli's *Adoration of the Magi* (1475) in terms of its subject matter and patronage?

The *Adoration of the Magi* is significant for its inclusion of portraits of the Medici family, including the deceased Cosimo and Piero, alongside the living Lorenzo and Giuliano. This demonstrated Botticelli's ability to integrate contemporary figures into sacred narratives, likely pleasing powerful patrons.

What was Botticelli's role in the artistic community of Florence during the 1480s?

In the 1480s, Botticelli was a leading Florentine painter, working alongside artists like Domenico Ghirlandaio and Filippino Lippi. He contributed to major fresco cycles, including those for Lorenzo the Magnificent's villa at Spedaletto, and produced many of his most famous works during this decade.

What does the *Bardi Altarpiece* reveal about Botticelli's interest in architecture and symbolism?

The *Bardi Altarpiece* (c. 1484-85), with a frame by Giuliano da Sangallo, shows Botticelli's interest in architectural settings and symbolic elements. The garden setting, reminiscent of a *hortus conclusus* (closed garden), traditionally associated with the Virgin Mary, and the use of banderoles with biblical verses highlight the painting's theological depth.

How did Botticelli's approach to portraiture evolve or remain consistent throughout his career?

Botticelli's portraits typically featured sitters in profile or three-quarter views, with consistent lighting and backgrounds, often plain or showing a simple window. While many portraits were likely made by his workshop, his own works maintained a characteristic style, though his approach became somewhat old-fashioned by his later years compared to the evolving trends in Florentine portraiture.

What is the significance of the *Primavera* and *The Birth of Venus* in the context of Renaissance art?

These paintings are considered icons of the Italian Renaissance, representing a revival of large-scale mythological subjects not seen since antiquity. They embody the era's interest in classical mythology, Neoplatonic philosophy, and humanist ideals, characterized by Botticelli's signature linear grace and beauty.

What was Botticelli's relationship with the Vespucci family?

The Vespucci family, neighbors of Botticelli in Florence, were allies of the Medici and became patrons of Botticelli. Amerigo Vespucci, after whom the Americas were named, was part of this family. Botticelli's painting *Venus and Mars* possibly references the Vespucci family through the depiction of wasps.

What specific artistic contributions did Botticelli make to the Sistine Chapel besides the main narrative scenes?

In addition to the large narrative frescoes, Botticelli was likely responsible for designing the cartoons for the portraits of the earliest popes that adorned the upper level of the Sistine Chapel, and he also painted figures in the lunettes above.

How did Botticelli's style in his later years contrast with the emerging High Renaissance style?

In his last years, Botticelli's style moved in a direction opposite to that of Leonardo da Vinci and the High Renaissance painters. Instead of adopting the new style, he returned to a more Gothic or "archaic" manner, characterized by simplified forms and expressive austerity.

What evidence suggests Botticelli's interest in Savonarola's teachings, and how is this viewed by art historians?

Vasari claimed Botticelli was a follower of Savonarola, but modern historians debate the extent of this influence. While Botticelli's brother was clearly a follower, and some late works show a shift towards austerity, the idea that Botticelli completely abandoned painting due to Savonarola is not widely accepted.

What was the impact of the Pre-Raphaelites on Botticelli's reputation?

The Pre-Raphaelite Brotherhood, inspired by Botticelli's linear grace and idealized figures, helped stimulate a reappraisal of his work in the late 19th century. This movement contributed significantly to his rediscovery and subsequent rise in fame.

What is the significance of Botticelli's *Adoration of the Magi* (c. 1475-76) in terms of its subject matter and patronage?

The *Adoration of the Magi* is significant for its inclusion of portraits of the Medici family, including the deceased Cosimo and Piero, alongside the living Lorenzo and Giuliano. This demonstrated Botticelli's ability to integrate contemporary figures into religious scenes, likely pleasing powerful patrons.

What was Botticelli's role in the Sistine Chapel project in 1481?

Botticelli was one of several prominent artists summoned by Pope Sixtus IV to decorate the Sistine Chapel. He contributed frescoes depicting scenes from the lives of Moses and Christ, as well as portraits of popes, as part of a broader iconographic program.

Sandro Botticelli Wiki: Botticelli: The Florentine Brushstroke

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Overview

Master of Florentine Art

Alessandro di Mariano di Vanni Filipepi, universally known as Sandro Botticelli, was a preeminent Italian painter of the Early Renaissance. Born in Florence around 1445, Botticelli spent his entire life in the city, becoming a pivotal figure in the artistic landscape of his era. His distinctive style, characterized by linear grace and lyrical beauty, captured the spirit of the Florentine Renaissance.

A Renaissance Luminary

Botticelli's career spanned a period of immense cultural and artistic flourishing in Florence. While celebrated for his mythological allegories like The Birth of Venus and Primavera, he also produced a significant body of religious works, including numerous depictions of the Madonna and Child, and insightful portraits. His influence, though diminished after his death, was later revived, cementing his status as a master artist.

Artistic Lineage

Apprenticed to the renowned Fra Filippo Lippi, Botticelli absorbed the foundational techniques and aesthetic sensibilities of his master. This early training profoundly shaped his approach to composition, figure drawing, and the creation of melancholic, graceful figures. His artistic development was further influenced by contemporaries and the intellectual currents of Neoplatonism prevalent in Medici Florence.

Early Life and Apprenticeship

Florentine Roots

Botticelli was born in Florence, residing in the Borgo Ognissanti district his entire life. His father, Mariano di Vanni Filipepi, transitioned from tanning to gold-beating, a profession that likely fostered connections within the city's artisan community. Sandro was the youngest of four sons, and his early training is believed to have been in goldsmithing, a common path that honed precision and detail.

Under Fra Filippo Lippi

Around 1461-1462, Botticelli began his apprenticeship with Fra Filippo Lippi, a highly esteemed Florentine painter. Lippi's workshop provided Botticelli with invaluable training, instilling in him a mastery of clear contours, delicate modeling, and the creation of figures imbued with a characteristic gentle melancholy. This period laid the groundwork for Botticelli's unique artistic voice.

Early Collaborations and Independence

By 1467, Botticelli had likely completed his apprenticeship. He established his own workshop, taking on his first apprentice, Filippino Lippi (son of Fra Filippo), in 1472. His early independent works, such as the Sant'Ambrogio Altarpiece and Saint Sebastian, already demonstrated his developing style and growing reputation within Florence.

Artistic Career

Roman Sojourn: The Sistine Chapel

In 1481, Botticelli was summoned to Rome by Pope Sixtus IV to contribute to the fresco decoration of the Sistine Chapel. He painted three major scenes: The Temptations of Christ, The Youth of Moses, and The Punishment of the Sons of Corah. This prestigious commission significantly enhanced his reputation, showcasing his ability to manage large-scale narrative compositions and integrate figures within complex architectural settings.

Mythological Masterpieces

The 1480s marked the zenith of Botticelli's career, producing his most iconic mythological works. Primavera (c. 1482) and The Birth of Venus (c. 1485), both housed in the Uffizi Gallery, are celebrated for their ethereal beauty, intricate symbolism, and masterful linear execution. These large-scale allegories, likely commissioned by members of the Medici circle, epitomize the Neoplatonic ideals and humanist spirit of the Florentine Renaissance.

Primavera (Spring): A complex allegory depicting mythological figures in an idyllic garden, symbolizing the renewal of life and love.
The Birth of Venus: An iconic depiction of the goddess Venus arriving ashore, born from the sea foam, representing beauty and divine love.
Venus and Mars: A smaller panel illustrating the goddess Venus watching over the sleeping god Mars, suggesting the triumph of love over conflict.
Pallas and the Centaur: Symbolizing the triumph of reason (Pallas Athena) over untamed nature (the Centaur), possibly linked to Medici patronage.

Religious Devotion and Portraits

Alongside his mythological subjects, Botticelli continued to produce devotional paintings, including numerous tender depictions of the Madonna and Child, often in the popular tondo format. His portraits, such as the Portrait of a Man with a Medal of Cosimo the Elder, are noted for their psychological depth and refined characterization. In his later years, his style evolved, becoming more personal and expressive, sometimes described as more archaic or Gothic.

Patronage and the Medici

Florentine Powerhouse

Botticelli's career was deeply intertwined with the powerful Medici family, the de facto rulers of Florence. Lorenzo de'Medici, known as "il Magnifico," presided over a period of extraordinary artistic and intellectual flourishing, fostering a climate conducive to humanist thought and artistic innovation. While Lorenzo himself may not have been Botticelli's primary patron, his extended family and allies commissioned many of Botticelli's most significant works.

Artistic Circle

Botticelli was part of a vibrant artistic and intellectual milieu that included philosophers, poets, and scholars, many associated with the Neoplatonic Academy sponsored by the Medici. This environment influenced the complex allegorical and philosophical content found in his mythological paintings, which often drew upon classical literature and contemporary humanist thought.

Commissioned Works

Works like Primavera and Pallas and the Centaur are believed to have been commissioned by Lorenzo di Pierfrancesco de' Medici, a cousin of Lorenzo the Magnificent. These paintings, along with portraits of Medici associates and family members, underscore the crucial role of Medici patronage in shaping Botticelli's oeuvre and solidifying his position as a leading artist of the Florentine court.

Later Years and Rediscovery

Shifting Tastes and Savonarola's Influence

In his later years, Botticelli's style diverged from the emerging High Renaissance aesthetic championed by artists like Leonardo da Vinci. Influenced by the fervent religious climate and the teachings of Girolamo Savonarola, his work took on a more spiritual, austere, and expressive character. While Vasari suggested Botticelli abandoned painting, evidence indicates he continued to produce works, albeit with a more personal and less commercially driven focus.

Posthumous Recognition

Following his death in 1510, Botticelli's reputation waned significantly. His works remained largely in their original locations, overshadowed by later artistic developments. It wasn't until the late 19th century that his art was rediscovered and re-evaluated, particularly by the Pre-Raphaelite movement, which admired his linear grace and lyrical qualities. This revival led to a profound reappraisal, establishing him as a key figure of the Early Renaissance.

Enduring Influence

Today, Botticelli is celebrated for his unique contribution to Western art. His mythological paintings remain iconic images of the Renaissance, admired for their beauty, narrative depth, and technical brilliance. His influence continues to resonate, inspiring artists and captivating audiences with the timeless elegance of his Florentine brushstroke.

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References

He was still in school in February 1458 (Lightbown, 19). According to Vasari, 147, he was an able pupil, but easily grew restless, and was initially apprenticed as a goldsmith.

Lightbown, 52; they were the Sei della Mercanzia, a tribunal of six judges, chosen by the main Guilds of Florence.

Hartt, 326â327; Lightbown, 92â94, thinks no one was, but that Botticelli set the style for the figures of the popes.

Covered at length in: Lightbown, ch. 7 & 8; Wind, ch. V, VII and VIII; Ettlingers, ch. 3; Dempsey; Hartt, 329â334.

Lightbown, 54. This appears to exclude the idealized females, and certainly the portraits included in larger works.

The evidence for this identification is in fact slender to non-existent. Ettlingers, 168; Legouix, 64.

Dante's features were well-known, from his death mask and several earlier paintings. Botticelli's aquiline version influenced many later depictions.

Lightbown, 58â65, believes it is Giuliano, and the Washington version probably pre-dates his death; the Ettlingers, 168, are sceptical it is Giuliano at all. The various museums with versions still support the identification.

Lightbown, 242â247; Ettlingers, 103â105. Lightbown connects it more specifically to Savonarola than the Ettlingers.

Steinmann, Ernst, Botticelli, 26â28.

Lightbown, 213, 296â298: Ettlingers, 175â178, who are more ready to connect studies to surviving paintings.

Scott Nethersole (Courtauld Institute), quoted in Hudson.

Andre Chastel, Art et humanisme a Florence au temps de Laurent le Magnifique, Presses Universitaires de France, 1959.

James Saslow, Ganymede in the Renaissance: Homosexuality in art and society, Yale University Press, New Haven, 1986, 88.

Primavera and The Birth of Venus remained in the Grand Ducal Medici villa of Castello until 1815. Levey 1960, 292.

A full list of references for this article are available at the Sandro Botticelli Wikipedia page

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Sandro Botticelli

💡 Dive in with Flashcard Learning! 💡

Overview ℹ️

🎨 Master of Florentine Art

📜 A Renaissance Luminary

🏛️ Artistic Lineage

Early Life and Apprenticeship 👶

🏠 Florentine Roots

🧑‍🏫 Under Fra Filippo Lippi

🤝 Early Collaborations and Independence

Artistic Career 🖌️

🇻🇦 Roman Sojourn: The Sistine Chapel

🌸 Mythological Masterpieces

🙏 Religious Devotion and Portraits

Patronage and the Medici 👑

🤝 Florentine Powerhouse

🌟 Artistic Circle

🖼️ Commissioned Works

Later Years and Rediscovery ⏳

📉 Shifting Tastes and Savonarola's Influence

💡 Posthumous Recognition

📚 Enduring Influence

Teacher's Corner 🧑‍🏫

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📜 Important Notice

Dive in with Flashcard Learning!

Overview

Master of Florentine Art

A Renaissance Luminary

Artistic Lineage

Early Life and Apprenticeship

Florentine Roots

Under Fra Filippo Lippi

Early Collaborations and Independence

Artistic Career

Roman Sojourn: The Sistine Chapel

Mythological Masterpieces

Religious Devotion and Portraits

Patronage and the Medici

Florentine Powerhouse

Artistic Circle

Commissioned Works

Later Years and Rediscovery

Shifting Tastes and Savonarola's Influence

Posthumous Recognition

Enduring Influence

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice