C*Q
发帖数: 65 | 1 That Botticelli could work in more than one manner at a time (perhaps,
like the Fortitude, adapting it for the context) is shown in his fresco
of St. Augustine in his Study, painted in 1480 for the Florentine
church of the Ognissanti and in rivalry with Ghirlandaio's nearby St.
Jerome (both still in situ). Here Botticelli's style is more
monumental, with a close attention to naturalistic detail. His workshop
in these years was highly successful, one of its most lucrative lines
being panels depic | C*Q
发帖数: 65 | 2 That Botticelli could work in more than one manner at a time (perhaps,
like the Fortitude, adapting it for the context) is shown in his fresco
of St. Augustine in his Study, painted in 1480 for the Florentine
church of the Ognissanti and in rivalry with Ghirlandaio's nearby St.
Jerome (both still in situ). Here Botticelli's style is more
monumental, with a close attention to naturalistic detail. His workshop
in these years was highly successful, one of its most lucrative lines
being panels depicting the Madonna and Child, perhaps the most
beautiful of which is the tondo of the Madonna of the Magnificat
(c1485, Florence, Uffizi). |
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