Sandro Botticelli (1445-1510) was a prominent Florentine Renaissance painter known for his graceful figures and mythological themes. His iconic works include “The Birth of Venus” and “Primavera”, showcasing elegant lines and a distinctive style that defined early Renaissance art.
Sandro Botticelli’s Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden is a poignant painting from the late 15th or early 16th century. The work depicts Christ crucified at the center, surrounded by five saints in adoration: Monica, Augustine, Mary Magdalen, Jerome, and Bridget of Sweden. Each saint is rendered with individuality and reverence, reflecting Botticelli’s mastery of expression and devotion. The composition is intimate yet solemn, with a dark background that focuses attention on the figures and their spiritual connection to Christ. This painting exemplifies Botticelli’s late-period style, marked by deep religious sentiment and a departure from his earlier, more secular themes, likely influenced by the spiritual climate of Savonarola’s Florence.
Sandro Botticelli (1445-1510) was a prominent Florentine Renaissance painter known for his graceful figures and mythological themes. His iconic works include “The Birth of Venus” and “Primavera”, showcasing elegant lines and a distinctive style that defined early Renaissance art.
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Sandro Botticelli’s Christ on the Cross adored by Saints Monica, Augustine, Mary Magdalen, Jerome and Bridget of Sweden is a poignant painting from the late 15th or early 16th century. The work depicts Christ crucified at the center, surrounded by five saints in adoration: Monica, Augustine, Mary Magdalen, Jerome, and Bridget of Sweden. Each saint is rendered with individuality and reverence, reflecting Botticelli’s mastery of expression and devotion. The composition is intimate yet solemn, with a dark background that focuses attention on the figures and their spiritual connection to Christ. This painting exemplifies Botticelli’s late-period style, marked by deep religious sentiment and a departure from his earlier, more secular themes, likely influenced by the spiritual climate of Savonarola’s Florence.
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