Newly attributed drawings by Botticelli (original) (raw)
Related papers
Botticelli Past and Present Edited by Ana Debenedetti and Caroline Elam
Botticelli Past and Present Botticelli’s influence and innovations continue to inspire interest and passionate debate among art historians and lovers of art. In four chapters, spanning centuries of Botticelli’s artistic fame and reception, Botticelli Past and Present engages with the significant debates about Botticelli. Each chapter collects several essays and includes a short introduction that positions them within the wider scholarly literature on Botticelli. The chapters are organized chronologically, beginning with discussion of the artist and his work in his own time, moving on to the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. This book is published under a Creative Commons Attribution Non- commercial Non-derivative 4.0 International license (CC BY-NC-ND 4.0).
Botticelli Imagined Exhibition Review February 2016
The title of the V&A’s current exhibition is key, Botticelli Reimagined, but perhaps our desire for Botticelli is so pronounced that we tend to overlook the ‘Reimagined’ part. This is no fault of the V&A but is rather indicative of a tendency to romanticise and wallow in the ‘Little Barrel’s’ beautiful figures, soft outlines and delicate colours.
c u r a t O r O F t h e e x h i b i t i O n : Vilmos Tátrai a s s O c i a t e c u r a t O r s : Dóra Sallay, Axel Vécsey c h i e F e x h i b i t i O n c O O r d i n a t O r : Sára Schilling e x h i b i t i O n c O O r d i n a t O r s : Zsófia Kovács, Eszter Vályi a s s i s t a n t e x h i b i t i O n c O O r d i n a t O r s : Veronika Bába, Csilla Regős, Dóra Sallay, Eszter Szász L e g a L c O O r d i n a t O r s a n d r e g i s t r a r s : Henriett Galambos, Zsófia Kovács, Diána Szécsi, Eszter Vályi t r a v e L O r g a n i z a t i O n : Krisztián Fonyódi, Szilvia Komlódi m e d i a a n d m a r k e t i n g : Zoltán Lévay, Dávid Szabó
The Materials and Making of Botticelli's Young Man Holding a Roundel
Botticelli: Renaissance Man, 2020
Though this arresting portrait by Botticelli has long been known to scholars and the public alike, only minimal technical information on the painting has ever been published. Recent examinations coinciding with its appearance on the market provide an ideal moment to consider the condition and making of the picture. The present technical study incorporates information gained from x-radiography, infrared reflectography, macro-x-ray fluorescence (XRF) scanning, Raman spectroscopy, and close examination under the microscope.
An Unpublished Essay by Mary Berenson, ‘Botticelli and his Critics’ (1894–95)
19: Interdisciplinary Studies in the Long Nineteenth Century, 2019
An unpublished essay written in 1894–95 by Mary Berenson offers the first extended analysis of ‘the immense popularity among cultivated Anglo-Saxons’ of Botticelli. Written in collaboration with Bernard Berenson, it offers the idiosyncratic view that the dreamy aspect of Botticelli’s figures results from the tension between the artist’s interest in both linearity and unidealized naturalism. The ‘indeterminate’ appearance of his works appealed to fifteenth-century viewers, who vacillated between Christian and ‘Renaissance’ values, and to modern observers, who were similarly undecided between religion and modernity. The Pre-Raphaelites, for example, revealed ‘a dissatisfaction with the present that leads them to take refuge’ in Renaissance dreams, but this was due in part to their mistaken acceptance of workshop paintings as works by Botticelli himself. Their flawed approach was compounded by the writings of Ruskin and Pater. The science of connoisseurship, as developed by the Berensons, is required to truly understand Botticelli.