Une histoire de la peinture . à carrière, destiné alsoto venu dans son propre encore à travers une nouvelle vogue par moyen d'un étrange culte esthétique touchés que passedover l'Angleterre comme la peste de la culture à la fin des dix-huit-des centaines. Alessandro di Mariano di Vanni dei Filipepi, betteiknown et monde-célèbre comme Sandro Botticelli (1444-1510), est si particulier, si original dans son art, maître d'sofascinating et un style personnel, qu'il se distingue des ascreating pratiquement un nouveau développement de la peinture et de l'AAS, question de fait, lui et ses contemporains n'anatmosphere révèlent dans leur art qui s'est s'adapter à n

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A history of painting . at career, destined alsoto come into his own again through a renewed vogue bythe strange means of an affected aesthetic cult that passedover England like a plague of culture in the late eighteen-hundreds. Alessandro di Mariano di Vanni dei Filipepi, betteiknown and world-famous as Sandro Botticelli (1444-1510), is so individual, so original in his art, master of sofascinating and personal a style, that he stands out ascreating almost a new development of painting—and, asa matter of fact, he and his contemporaries do reveal anatmosphere in their art which was attune to new andmarked developments throughout Italian life in the last halfof the fourteen-hundreds. 98 XI SANDRO BOTTICELLI1444 - 1510 FLORENTINE SCHOOL MARS AND VENUS (National Gallery) The goddess, clothed in white and gold, is awake ; Mars lies asleep.Four infant satyrs are playing about him ; one of them tries to rouse himby blowing on a shell. Painted in tempera on wood. 2 ft. 3^ in. h. x 5 ft. 8 in. w.(0-698 x 1727). *, . PAINTING We have seen that Florentine art from the beginning of WHEREINthe century had received two new impulses that had rapidly WE AREurged it forward to fresh achievement. On the one hand, INTRO- Masaccio, powerfully impressed by the sculptor Donatello, U^U 1C u a -j u i c ? * i r ?? • *• a THE POET had raised a school or intensely realistic painting, rugged and forthright, that had brought forth Domenico Veneziano, cpDjvrp_Andrea dal Castagno, Uccello, Dei Franceschi; on the other TIME OFhand, the Giottesques had bred the tender and beauty-seeking THE RE-aims of Fra Angelico, Fra Filippo Lippi, and Benozzo NAISSANCEGozzoli. The latter half of the century saw the rise of thegoldsmith-painters, of whom the brothers Pollaiuoli weresteeped in the severer and dramatic tradition of the realistsborn out of the art of Donatello and Masaccio. Thebeauty-seeking and religiously tender side of Florentineart was also to create a school akin to it in these latterfour

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