“History of Virginia”, also known as “The Story of St. Virginia” – a picture with a dramatic plot, belonging to the brush of the Italian painter Sandro Botticelli. The work

Based on the example of Philippe Lippi and Verrocchio, the artist gives an updated interpretation of the image of the Madonna. He extends the proportions of the figure, emphasizing the

Orders Botticelli received mainly in Florence. One of his most remarkable paintings is “Saint Sebastian” performed for the oldest church in Santa Maria Maggiore. On January 20, 1474, on the

“As a young man, he wrote the figure of the Force among those Virtues that were written on the tree of Antonio and Piero Pollayolo for the merchant shop in

In a confined space with an open window, from which you can see the winding Tuscan landscape – the river and the hills – Botticelli presented a group of figures

Before us is a picture of the great Botticelli, full of symbolic images. It is sometimes called “Madonna, which teaches the reading of the infant of Christ.” The book lying

This “Sea Madonna”, apparently, belongs to the early period of Botticelli’s creativity, which is felt in some rigidity of the poses and folds of clothing, which in his mature works

The daughter of Jethro, a fragment of the fresco by Sandro Botticelli “Scenes from the Life of Moses.” In this fragment, the artist Botticelli depicted one of the daughters of

Painting by artist Sandro Botticelli “Portrait of a man with the medal of Cosimo de Medici Elder”. The size of the picture is 57.5 x 44 cm, wood, tempera. The

In the Munich “Position in the coffin” of Botticelli, the angularity and some woodiness of the figures, which make one recall a similar picture by the Dutch artist Rogir van

Painting by Sandro Botticelli “Adoration of the Magi”, customer altar banker Giovanni di Zanobi del Lama, originally the painting was in the church of Santa Maria Novella in Florence. The

This unusual painting depicts the Madonna and the grenade-holding infant in the presence of the young John the Baptist. Sitting on the benches angels in the background are like schoolchildren.

October 27, 1480 Botticelli, along with other Florentine artists, Domenico Ghirlandaio and Cosimo Rosselli, came to Rome, where they were invited to participate in the reconciliation project between Lorenzo de

Botticelli’s approach to illustrating “Paradise” is surprising in its novelty. The artist rejects the modern tradition of unfolding the narrative line of the text. He gives only a summary of

“Korah, the son of Izhar, the son of Kohath, the son of Levi, and Dathan and Abiram, the sons of Eliab, and Avnan the son of Pelegus, the children of