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{{short description|Italian painter (1446-1498)}} |
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[[File:Madonna col Bambino di Francesco Botticini,1.JPG|thumb|''Madonna and Child'', [[Galleria Franchetti]]]] |
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[[File:Francesco Botticini - St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia - Google Art Project.jpg|thumb|St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia, [[tempera on panel]]]] |
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{{Use dmy dates|date=October 2017}} |
{{Use dmy dates|date=October 2017}} |
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'''Francesco |
'''Francesco Botticini''' (real name Francesco di Giovanni, 1446 – 16 January 1498<ref>[http://www.getty.edu/vow/ULANFullDisplay?find=botticini&role=&nation=&prev_page=1&subjectid=500010663 Getty Museum entry.]</ref>) was an Italian painter of the [[Early Renaissance]]. He was born in [[Florence]], where he remained active until his death in 1498. Although there are only few documented works by Botticini, a considerable corpus has been confidently attributed to him on the basis of style including a number of altarpieces, dozens of small-scale religious panels and a few portraits.<ref name=":7">{{cite web|url=https://www.oxfordartonline.com/subscriber/article/grove/art/T010408?q=francesco+botticini&search=quick&pos=1&_start=1|title=Botticini, Francesco|last=Rizzo|first=Anna Padoa|date=26 May 2010|website=Oxford Art Online }}</ref><ref>{{Cite book|last=Venturini|first=Lisa|title=Francesco Botticini|publisher=Edifir|year=1994|location=Florence}}</ref> |
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== Life == |
== Life == |
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Francesco Botticini was born in 1446 in Florence. His father, Giovanni di Domenico di Piero, was also a painter. Giovanni's connections are probably helped Francesco in becoming a paid assistant to Neri di Bicci. He began as an assistant in the prosperous workshop on 22 July 1459 under a contract of one year of training. At this time Francesco was 13 years of age. The group of highly talented artists in the workshop led to important exposure for the young Botticini.<ref name=":7" /><ref name=":8">{{Cite book|title=THE VERROCCHIO WORKSHOP: Techniques, production and Influences|last=Serros|first=Richard David|publisher=University of Louisville|year=1999|isbn=|location=|pages=221–226}}</ref> |
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=== Early work === |
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Despite the one-year contract, Francesco left Neri di Bicci's workshop on 24 July 1460 after only nine months of training. On leaving Neri di Bicci's workshop he might have spent time in the workshop of [[Andrea del Verrocchio]] alongside his most famous contemporaries, including [[Leonardo da Vinci]], [[Lorenzo di Credi]], [[Domenico Ghirlandaio]], and [[Pietro Perugino]]. Botticini's presence in Verrocchio's studio is not, however, attested by any document, and Botticini's participation in Verrocchio's paintings remains a matter of debate. Verrocchio's influence is nevertheless perceptible in Botticini's paintings. By 1469, Botticini opened up his own workshop, as reported in an arbitration document of the year.<ref name=":9">{{Cite journal|last=Bagemihl|first=Rolf|date=May 1996|title=Francesco Botticini's Palmieri Altar-Piece|jstor=886902|journal=Burlington Magazine Publications LTD.|volume=138|issue=1118|pages=308–314}}</ref><ref name=":7" /><ref name=":8" /> |
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Botticini was born in Florence in 1446. His father was Giovanni di Domenico di Piero, a ''naibaio'', or painter of playing cards, from whom he probably received his initial artistic training. By 22 July 1459 was a salaried assistant in the workshop of [[Neri di Bicci]]. Botticini left Neri's workshop in 24 July 1460. He eventually came into contact with [[Andrea del Verrocchio]], in whose workshop he would have met [[Leonardo da Vinci]], [[Lorenzo di Credi]], [[Domenico Ghirlandaio]], and [[Pietro Perugino]]. Though Botticini's presence in Verrocchio's studio is not documented, it is often inferred on the basis of style. Botticini opened his own workshop by 1469, as reported in an arbitration document from that year.<ref name=":9">{{Cite journal|last=Bagemihl|first=Rolf|date=May 1996|title=Francesco Botticini's Palmieri Altar-Piece|jstor=886902|journal=Burlington Magazine Publications LTD.|volume=138|issue=1118|pages=308–314}}</ref><ref name=":7" /><ref name=":8">{{Cite book|last=Serros|first=Richard David|title=THE VERROCCHIO WORKSHOP: Techniques, production and Influences|publisher=University of Louisville|year=1999|pages=221–226}}</ref> He remained close with his father, who oversaw his working contracts until 1475, when he filed for emancipation. The emancipation was granted in 1477, according to legal records.<ref name=":9" /> [[File:Francesco Botticini - St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia - Google Art Project.jpg|thumb|''Saint Nicolas Enthroned between Saints Catherine, Lucy, Margaret and Apollonia'', circa 1465. Tokyo, National Museum of Western Art.]] |
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Botticini's earliest works include the ''Saint Nicholas and Four Female Saints'' at the [[National Museum of Western Art]], Tokyo, a ''Saint Sebastian'' at the [[Metropolitan Museum of Art]], New York,<ref>{{Cite web|title=Francesco Botticini - Saint Sebastian|url=https://www.metmuseum.org/art/collection/search/435734?searchField=All&sortBy=Relevance&ft=botticini&offset=0&rpp=20&pos=2}}</ref> and a ''Madonna adoring the Child'' at the [[Birmingham Museum of Art]] in Alabama.<ref>{{Cite web|title=Madonna Adoring the Christ Child - Francesco Botticini|date=4 August 2023 |url=https://www.artsbma.org/collection/madonna-adoring-the-christ-child/}}</ref> His earliest dated work is an altarpiece of the ''Madonna and Child with Saints Sebastian, Pancras, Sebastian and Peter'' (1471) at the [[Musée Jacquemart-André]], Paris, which is painted under the strong influence of Verrocchio. The ''Saint Monica Enthroned with Augustinian Nuns'' in [[Santo Spirito, Florence|Santo Spirito]], Florence, is usually dated-also dated-to this year, as is the famous ''Three Archangels with the Young Tobias'' at the [[Uffizi]]. |
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=== Maturity === |
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Francesco remained close with his father Giovanni di Domenico, who oversaw his working contracts until 1475. In 1475, Francesco filed for emancipation from paternal authority, which was granted in 1477 according to legal records.<ref name=":9" /> |
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By 1475 Botticini had developed a more personal style, which he first expressed in his most famous work, the large ''Assumption of the Virgin'' at the [[National Gallery|National Gallery, London]].<ref>{{Cite web|title=The Assumption of the Virgin - Francesco Botticini|url=https://www.nationalgallery.org.uk/paintings/francesco-botticini-the-assumption-of-the-virgin}}</ref> Wrongly attributed [[Sandro Botticelli|Botticelli]] in [[Giorgio Vasari|Giorgio Vasari's]] ''[[The Lives of the Artists|Lives of the Artists]],'' this painting has been unanimously attributed to Botticini since the early twentieth century. The attribution is corroborated by extant documents, which state how the painting was begun in 1475 and completed in 1477.<ref name=":3">{{Cite journal|last=King|first=Catherine|date=1987|title=The Dowry Frams of Niccolosa Sserragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini|journal=Zeitschrift für Kunstgeschichte|volume=50|issue=2|pages=275–278|doi=10.2307/1482328|jstor=1482328}}</ref><ref name=":9" /> The picture was commissioned by the poet [[Matteo Palmieri]] and his wife Niccolosa, presumably for their burial chapel in the now-destroyed church of [[San Pier Maggiore, Florence|San Pier Maggiore]], Florence. However, some scholars believe it was instead intended for Palmieri's chapel in the [[Badia Fiesolana]] (outside Florence) because the dimensions are almost the same as [[Hans Memling]]'s ''[[The Last Judgment (Memling)|Last Judgment]],'' a work initially intended for the Badia but later stolen and taken to Gdansk, Poland. Several preparatory drawings for Botticini's altarpiece survive in various collections.<ref name=":1">{{Cite journal|last=Griswold|first=William|date=Summer 1994|title=Drawings by Francesco Botticini|journal=Master Drawings|volume=32|pages=151–154}}</ref>[[File:Francesco Botticini - The Assumption of the Virgin.jpg|thumb|''Assumption of the Virgin,'' 1475-77. London, National Gallery.|left|375x375px]] |
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The altarpiece's unusual composition and subject was surely dictated by its patrons, who appear in the lower corners of the composition. The background includes a view of Florence and the Arno valley. Some of Palmieri's properties on the hills of Fiesole, such as the farm included in his wife's dowry, are clearly discernible.<ref name=":3" /><ref name=":9" /><ref>{{Cite journal|last=Branagan|first=David|date=2006|title=Geology and the artists of the fifteenth and sixteenth century, mainly Florentine|journal=Geology Society of America|volume=411|pages=31–35}}</ref> The interpretation of [[Assumption of the Virgin|Mary's bodily assumption into heaven]], with the Virgin welcomed by rings of angels and saints, is based on the last stanza of Palmeri's poem, the ''[[Matteo Palmieri#Works|Città di Vita]]'' (1465)''.'' The poem describes a controversial [[Lucretius|Lucretian]] idea that the soul began in heaven and descended to earth, without being crafted by God. Vasari wrote that Botticini's ''Assumption'', like Palmieri's poem, was considered [[Heresy|heretical]] and thus covered soon after its completion.<ref name=":3" /> This claim is likely fictitious but the donors' faces have indeed been scratched out, clearly indicating the controversies that surrounded Palmieri's ideas. |
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Botticini died in Florence on 16 January 1498 at the age of 51. The monumental ''Tabernacle of the Sacrament'' for the collegiate church of Empoli was not yet finished and was eventually completed by his son, [[Raffaello Botticini]], who had a prolific activity of his own.<ref name=":7" /> |
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In the 1480s Botticini was consistently employed in Florence as well as nearby [[Empoli]]. For Empoli's collegiata church of Sant'Andrew he created two large tabernacles, one dedicated to Saint Sebastian and the other the Holy Sacrament. Both tabernacles are today in the adjoining museum. The larger of the two, the''Tabernacle of the Sacrament,'' was commissioned in 1486 and was largely complete by 1491, when it was installed on the church's high altar. In 1504, however, Botticini's son [[Raffaello Botticini|Raffaello]] was called in to add the finishing touches. Several preparatory drawings survive for the draperies of the saints in the side panels.<ref name=":1" />[[File:THE MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST IN A LANDSCAPE.png|left|thumb|''Madonna adoring the Child with Saint John the Baptist'', 1480s. Sold at Sotheby's, London, in 2013.|277x277px]][[File:Francesco Botticini Tabernacle of the Sacramento. Empoli Museum.jpg|thumb|''Tabernacle of the Sacrament'', 1486-91. Empoli, Museo della Collegiata.|269x269px]] |
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== Works == |
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[[File:Francesco Botticini Turin Study.png|thumb|''Drapery Study for Saint Andrew in the Tabernacle of the Sacrament'', circa 1486-91. Turin, Biblioteca Reale.|378x378px|alt=]]In 1488 Botticini painted an altarpiece of the ''Pietà with Four Saints'' for the meeting room of the Confraternity of San Domenico del Giglio at the basilica of [[Santa Maria Novella]], Florence, now at the [[Musée Jacquemart-André]], Paris.<ref>{{Cite book|last=Venturini|first=Lisa|title=Francesco Botticini|publisher=Edifir|year=1994|location=Florence|pages=122–123}}</ref> |
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Throughout his career, Botticini painted numerous panels with religious subjects for the homes of Florentine citizens. He was especially popular as a painter of ''[[Tondo (art)|tondi]]'', or circular pictures, invariably of the Virgin and the young Saint John the Baptist, patron saint of Florence, kneeling in adoration of the Christ Child. One such example, in remarkably fine condition, appeared at Sotheby's, London, in 2013.<ref name=":2">{{cite web|date=2013|title=Francesco Botticini|url=http://www.sothebys.com/en/auctions/ecatalogue/2013/old-master-british-paintings-evening-l13033/lot.18.html|url-status=live|archive-url=https://archive.today/20170424202018/http://www.sothebys.com/en/auctions/ecatalogue/2013/old-master-british-paintings-evening-l13033/lot.18.html|archive-date=24 April 2017|access-date=24 April 2017|website=Sotheby's}}</ref> Others can be found at the [[Palazzo Pitti|Galleria Palatina]], Florence; the [[Louvre]], Paris; and the [[Museo Soumaya]], Mexico City. |
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=== ''Tabernacle of the Sacrament'' === |
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[[File:Francesco Botticini Tabernacle of the Sacramento. Empoli Museum.jpg|thumb|''Tabernacle of the Sacrament''|269x269px]] |
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The ''Tabernacle of the Sacrament'' was commissioned for the high altar of the collegiate church of Sant'Andrea in Empoli, a few miles west of Florence. The painting is one of Botticini's most notable works. [[Saint Andrew]], the church's patron, is pictured on the left of the central ciborium, while [[Saint John the Baptist]] stands at the right. Below in the predella, or base, are three smaller paintings, including the ''Martyrdom of St. Andrew,'' the ''Last Supper'' and the ''Feast of Herod''. The paintings are still enclosed in their original carved and gilded wooden frame.<ref name=":1" /><ref name=":7" /> |
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=== Late work === |
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Botticini was supposed to finish the altarpiece by 15 August 1486, but it was not actually installed in the church until 1491. The work was not officially complete until 1504, when Botticini's son, Raffaello, was asked to refresh the surface and finish the gilding.<ref name=":1" /><ref name=":7" /> |
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Botticini continued to work throughout the last during the last decade of his career, receiving important commissions for Florence and its surroundings. Around 1490 he painted the ''Madonna and Child in Glory with Saints Mary Magdalen and Bernard'', formerly at theFlorentine church of the [[Santa Maria Maddalena dei Pazzi|Cestello]] and now at the [[Louvre]], and in 1493 he painted a ''Madonna and Child with Two Angels and Saints Benedict, Francis, Sylvester and Anthony Abbot'' for the Compagnia della Vergine in [[Fucecchio]] (west of Florence), now at the [[Metropolitan Museum of Art]].<ref>{{Cite web|title=Metropolitan Museum of Art - Search the Collections|url=https://www.metmuseum.org/art/collection/search/435733?searchField=All&sortBy=Relevance&ft=Botticini&offset=0&rpp=20&pos=1}}</ref> |
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In the mid-1490s he completed his most ambitious late altarpiece, an imposing ''Saint Jerome with Saints and Angels'' (the ''San Gerolamo Altarpiece''), commissioned by wealthy Rucellai family for the convent of San Girolamo, [[Fiesole]].<ref>{{Cite web|title=Francesco Botticini {{!}} S. Gerolamo Altarpiece|url=https://www.nationalgallery.org.uk/paintings/francesco-botticini-s-gerolamo-altarpiece}}</ref> This work, now at the National Gallery in London, depicts Saint Jerome in the central panel between Pope Damasus, Saint Eusebius, Saint Paula and Saint Eustochium; six angels appear in the sky above and a group of donors kneel below. The painting is unusual for including the central saint in a separate frame, creating a sort of picture-within-a-picture. As described by art critic Charles Darwent, "By giving his picture-within-a-picture of St Jerome its own gilt frame, the artist (Botticini) sets up a sequence of overlapping realities. The framed image exists as a separate artwork for us, the viewer, but also for the painted saints who seem to study it: even holy martyrs, it says, can be moved by the power of art."<ref name=":4">{{Cite journal|last=Darwent|first=Charles|date=July 2011|title=All Things Bright and Beautiful|journal=The Independent on Sunday|location=London, United Kingdom|page=6}}</ref> A drawing once considered a study for the figure of the Saint Jerome in the altarpiece is now recognized as a work by [[Domenico Ghirlandaio]] and linked to a fresco of the saint at the Bargello, Florence, painted by Ghirlandaio's brother-in-law, [[Bastiano Mainardi]].<ref>{{Cite journal|last=Degenhart|first=Bernhard|date=December 1930|title=Francesco Botticini, Study of a St. Jerome|journal=Old Master Drawings|pages=49–51}}</ref>[[File:Botticini, Francesco - San Gerolamo Altarpiece - National Gallery London.jpg|thumb|''Saint Jerome with Angels and Saints'' (the ''Rucellai'' or ''San Gerolamo Altarpiece''), late 1490s. London, National Gallery.|262x262px|alt=|left]] |
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=== ''Assumption of the Virgin'' === |
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[[File:Francesco Botticini - The Assumption of the Virgin.jpg|thumb|''Assumption of the Virgin''|left|375x375px]] |
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In 1495 Botticini painted an altarpiece of the ''Madonna and Child with Saint Francis, the Archangel Raphael and the Young Tobias'' for the Rinuccini chapel in San Pier Scheraggio, Florence. This work is now at the [[National Galleries of Scotland]], Edinburgh, on loan from a private collection.<ref>{{Cite book|title='A Poet in Paradise': Lord Lindsay and Christian Art|publisher=National Galleries of Scotland|year=2000|location=Edinburgh|pages=78–79}}</ref> |
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The ''Assumption of the Virgin'' at the National Gallery, London, is Francesco Botticini's most famous work. Attributed to [[Sandro Botticelli]] in [[Giorgio Vasari|Vasari]]'s ''[[The Lives of the Artists]], the painting'' has been unanimously attributed to Botticini's since the early twentieth century. According to documents, the painting was begun in early 1475 and completed two years later, in 1477. It was commissioned by the poet [[Matteo Palmieri]] and his wife Niccolosa de'Serragli, presumably for their chapel in the now-destroyed church of San Pier Maggiore, Florence, where Palmieri was buried. Some scholars believe it was initially planned for Palmieri's chapel in the Badia Fiesolana in the Florentine outskirts; in support of this identification, the painting has almost the same dimensions of ''the Last Judgment'' by [[Hans Memling]], a work intended for the Badia but now at the museum in Gdansk, Poland.<ref name=":3">{{Cite journal|last=King|first=Catherine|date=1987|title=The Dowry Frams of Niccolosa Sserragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini|jstor=1482328|journal=Zeitschrift für Kunstgeschichte|volume=50|issue=2|pages=275–278|doi=10.2307/1482328}}</ref><ref name=":9" /> |
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Botticini died in Florence on 16 January 1498 at the age of 51. His workshop was inherited by his son [[Raffaello Botticini]], who had a prolific activity of his own.<ref name=":7" /> |
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The subject of the painting was greatly dictated by patrons, who are depicted kneeling in the lower corners of the composition. Niccolosa de'Serragli is dressed in the dark clothes of a widow. The background includes a view of Florence as well as Palmieri's properties on the hills of Fiesole. The white farm in the landscape may resemble the farm included in Niccolosa's dowry.<ref name=":3" /><ref name=":9" /><ref>{{Cite journal|last=Branagan|first=David|date=2006|title=Geology and the artists of the fifteenth and sixteenth century, mainly Florentine|url=|journal=Geology Society of America|volume=411|pages=31–35}}</ref> |
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== Posthumous reputation == |
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The painting's subject closely resembles the last stanza of Palmeri's ''[[Matteo Palmieri#Works|Città di Vita]],'' a poem which discusses the Virgin Mary's reception in the Court of Heaven. The painting illustrates a clear separation between heaven and earth in accordance with the poem. The intermingling of angels and saints in the spheres also relates to Palmieri's poem, which suggests that angels turned back into saints when they refused to take sides during the fall of Lucifer.<ref name=":3" /><ref name=":9" /> According to Vasari, the work was viewed as [[Heresy|heretical]] in its time, but this claim is likely a myth.<ref name=":3" />[[File:Botticini, Francesco - San Gerolamo Altarpiece - National Gallery London.jpg|thumb|Francesco Botticini, San Gerolamo Altarpiece, ''National Gallery, London''|250x250px]] |
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In April 1968, ''[[Esquire (magazine)|Esquire Magazine]]'' imitated Botticini's ''Saint Sebastian'' at the Metropolitan Museum of Art in a cover shot of [[Muhammad Ali]]. The cover was meant to relate the persecution of Saint Sebastian to that of Muhammad Ali, when we was stripped of his heavyweight boxing title for refusing to serve in the [[Vietnam War]]. [[George Lois]], the magazine's art director at the time, came up with the idea and pitched it to Ali. Ali initially liked the connection between the suffering of the Saint and himself, but initially refused to pose as a Christian. He eventually agreed after speaking with the leader of the Nation of Islam, [[Elijah Muhammad]], and studying a postcard of Botticini's painting. The final product shows Ali with his hands bound behind him, arrows piercing his torso, his head tilted upwards in pain, in imitation of Botticini's saint.<ref>{{Cite magazine|url=https://www.rollingstone.com/sports/news/how-muhammad-alis-iconic-esquire-cover-helped-cement-a-legend-20160605|title=How Muhammad Ali's 'Esquire' Cover Helped Cement a Legend|magazine=Rolling Stone|access-date=23 April 2017}}</ref><ref>{{Cite news|title=This Way In|date=2008|work=Esquire|id = {{ProQuest|210369046}}}}</ref> |
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=== ''The Rucellai Altarpiece'' === |
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Toward the end of his career, Botticini completed a large altarpiece for the Rucellai chapel in the church of San Girolamo, Fiesole. Now at the National Gallery in London, this work depicts Saint Jerome in the center surrounded by the Pope Damasus, Saint Eusebius, Saint Paula and Saint Eustochium; six angels appear above and a group of donors kneel below. The painting is unusual for including Saint Jerome within his own frame, creating a sort of picture-within-a-picture. Critic Charles Darwent described the painting as, "By giving his picture-within-a-picture of St Jerome its own gilt farm, the artist (Botticini) sets up a sequence of overlapping realities. The framed image exists as a separate artwork for us, the viewer, but also for the painted saints who seem to study it: even holy martyrs, it says, can be moved by the power of art." In other words, Botticini combined three different realities within one altarpiece: the reality of St. Jerome, of the saints studying him, and of the kneeling donors.<ref name=":4">{{Cite journal|last=Darwent|first=Charles|date=July 2011|title=All Things Bright and Beautiful|url=|journal=The Independent on Sunday|location=London, United Kingdom|volume=|page=6}}</ref> |
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[[File:THE MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST IN A LANDSCAPE.png|left|thumb|Francesco Botticini, Madonna and Child|277x277px]] |
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=== ''The Madonna and Child with the Infant Saint John The Baptist in a Landscape'' === |
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Botticini painted numerous private devotional paintings including many tondi, including one especially well-preserved example sold at Sotheby's in 2013. The painting's subject--the Virgin kneeling in adoration of the Christ Child with the Infant Saint John Baptist--was one of the artist's most popular. The Sotheby's painting is very similar in style to another by Botticini at the [[Madonna and Child (Lippi)|Cassa di Risparmio]] in Florence, which, however, does not include the young Baptist. Both paintings include wide open landscapes and Botticini ambiguous walled cities in the distance. The Sotheby's painting is in remarkable condition in part due to its completion on just a single panel.<ref name=":2">{{cite web|url=http://www.sothebys.com/en/auctions/ecatalogue/2013/old-master-british-paintings-evening-l13033/lot.18.html |title=Francesco Botticini |date=2013 |website=Sotheby's |archiveurl=https://archive.is/20170424202018/http://www.sothebys.com/en/auctions/ecatalogue/2013/old-master-british-paintings-evening-l13033/lot.18.html |archivedate=24 April 2017 |url-status=live |accessdate=24 April 2017 }}</ref> |
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The painting was a part of [[Sotheby's]] 2013 Old Masters and British Paintings Evening Sale, and sold for $494,500.<ref name=":2" /> |
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== Drawings == |
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[[File:Francesco Botticini Turin Study.png|left|thumb|Francesco Botticini, Study of Drapery on a Figure, ''Turin''|443x443px]] |
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Few of Botticini's drawings survive, in comparison to his contemporaries who left behind numerous sheets. [[Bernard Berenson]] attributed eight drawings to Botticini, three of which have been connected to extant paintings.<ref name=":0">{{Cite journal|last=Berenson|first=Bernard|date=|title=Francesco Botticini|url=|journal=Drawings of the Florentine Painters|volume=|pages=}}</ref> One of these drawings, depicting the draperies of a kneeling figure, has since been attributed to [[Domenico Ghirlandaio]] and recognized as a study for Bastiano Mainardi's fresco of ''Saint Jerome'' in the chapel of the Bargello in Florence.<ref name=":0" /> |
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The other two drawings are considered studies for the figures in Botticini's ''Assumption'' at the [[National Gallery]]. The latter two drawings are now in the [[National Museum, Stockholm]].<ref name=":0" /> [[File:Francesco Botticini Study of Drapery on the Legs of a Seated Figure.png|left|thumb|Francesco Botticini, Study of Drapery on the Legs of a Seated Figure, ''Florence, Uffizi']] |
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William Griswold attributed several other drawings to Botticini, including a drapery study in Turin, which seems to be a study for the Saint Andrew in the ''Tabernacle of the Sacrament''.<ref name=":1">{{Cite journal|last=Griswold|first=William|date=Summer 1994|title=Drawings by Francesco Botticini|url=|journal=Master Drawings|volume= 32|pages=151–154}}</ref> [[File:Francesco Botticini, Christ Blessing, Drawing.png|thumb|Francesco Botticini, ''Christ Blessing''|381x381px]]Gigetta Dalli Regoli attributed additional drawings to Botticini, including a ''Study of Drapery on the Legs of a Seated Figure'' at the [[Uffizi]], previously attributed to [[Piero di Cosimo]].<ref name=":1" /> |
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Griswold believes that both drawing studies used the technique of dipping drapery into wet plaster to allow for easy manipulation of the material at the hand of the artist. However, there are differences between the two drawings. The Turin drawing was made only using a brush, while the Florence drawing was made with both pen and brown ink, completed on orange tinted paper, linking it to sketches for the Palmieri Assumption altarpiece. For these sketches Botticini used a combination of scratchy pen marks and zigzag hatching to complete the structure of the model. Griswold infers from the similarity of the four separate drawings that Botticini must have been the artist of all four.<ref name=":1" /> |
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[[File:Francesco Botticini Study for a St Jerome.png|thumb|Francesco Botticini, Study for a St. Jerome, ''Budapest Print Room'']] |
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Another drawing credited to Botticini has been linked to his San Gerolamo altarpiece, discussed above. The center panel depicts a kneeling St. Jerome, for which he completed a drawing as a study for the figure. Once again, the actual painting of St. Jerome did not exactly copy this drawing. Instead, similarly to other drawings done by Botticini, the drawing was used as an early study from which many changes were made. Art Historian Bernhard Degenhart concludes that although there are differences between the study and the final product, the works are both absolutely Botticini's. He attributes many of the differences to the different mediums used. Their similarities include the folds in their drapery, the shadowing, the spread of the material across the grown, and the heightening of white within the clothing. The placement of the hand at the breastbone is also convincingly similar.<ref>{{Cite journal|last=Degenhart|first=Bernhard|date=December 1930|title=Francesco Botticini, Study of a St. Jerome|url=|journal=Old Master Drawings|volume=|pages=49–51}}</ref><ref name=":4" /> |
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== Legacy == |
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Francesco Botticini is not often included in the conversation of the masters of Renaissance art. However, his significant contribution to art in the 15th century formed a legacy that affected art in his time and in the contemporary world. |
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[[File:Francesco di Giovanni Botticini - Saint Sebastian.jpg|thumb|Francesco Botticini, St. Sebastian, ''Metropolitan Museum of Art''|499x499px]] |
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Charles Darwent discusses Botticini's legacy in his article about the ''Rucellai'' altarpiece. The altarpiece, which was one unified scene created with a combination of multiple panels, is described as an engineering masterpiece as well as an art masterpiece. The uncommon painted outer frame gave Botticini the chance to experiment with his artistry and stray from the strict guidelines of the patron. This trend became popular with other artists in Botticini's realm of influence. Before this style of experimentation with the flexibility of the panels, artists were slaves to the carpenters initial construction of the altarpiece. Darwent believes that Botticini's new style of constructing interchangeable panels allowed artists to stray from the orthodox style of the patron and employed carpenter of the piece.<ref name=":4" /> |
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Botticini also influenced the modern art world with his painting of [[Saint Sebastian]], a Christian martyr who was killed with arrows because of his faith. In his painting Botticini depicts the Saint bound to a wooden pole, with arrows piercing his torso. In April 1968, [[Esquire (magazine)|Esquire Magazine]] imitated Botticini's painting in their cover shot of their article on [[Muhammad Ali]], ''The Passion of Muhammed Ali''. The cover was meant to relate the persecution of Saint Sebastian to the persecution of Muhammad Ali when we was stripped of his heavyweight boxing title for refusing to serve in the [[Vietnam War]]. [[George Lois]], the art director of the magazine at the time, came up with the idea for the cover and pitched it to Ali. Ali initially liked the connection between the suffering of the Saint and himself, but initially refused to pose as a Christian. Eventually he agreed after speaking with the leader of the Nation of Islam, [[Elijah Muhammad]], and studying a postcard of Botticini's painting for inspiration. The final product shows Ali with his hands bound behind him, arrows piercing his torso, his head tilted upwards in pain, imitating the Saint Sebastian that Botticini created.<ref>{{Cite news|url=https://www.rollingstone.com/sports/news/how-muhammad-alis-iconic-esquire-cover-helped-cement-a-legend-20160605|title=How Muhammad Ali's 'Esquire' Cover Helped Cement a Legend|work=Rolling Stone|access-date=23 April 2017}}</ref><ref>{{Cite news|title=This Way In|last=|first=|date=2008|work=Esquire|id = {{ProQuest|210369046}}}}</ref> |
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==Notes== |
==Notes== |
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== References == |
== References == |
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*Neri di Bicci, ''Le ricordanze, 1453–1475'', edited by Bruno Santi (Pisa, 1976), pp. 126–7, 333 (Italian) |
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*A. Padoa Rizzo. "Botticini, Francesco." Grove Art Online. Oxford Art Online. Oxford University Press, accessed 21 February 2017 |
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* |
*Poggi, Giovanni. "Della tavola di Francesco di Giovanni Botticini per la Compagnia di Sant’Andrea di Empoli’, ''Rivista d’arte'', vol. 3 (1905): pp. 258–64. |
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*Kühnel, Ernst. ''Francesco Botticini''. Strassburg: Heitz, 1906. |
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*R. van Marle: ''The Development of Italian Schools of Painting'', 19 vols (The Hague, 1931, 2/1970), xiii, pp. 390–427 |
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*Bacci, Piero. ‘Una tavola sconosciuta con San Sebastiano di Francesco di Giovanni Botticini’, ''Bollettino d'Arte,'' n.s. iv (1924–25): pp. 337–50. |
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*M. Davies: ''The Earlier Italian Schools'', London, N.G. cat. (London, 1951, 2/1961), pp. 118–27 |
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*Degenhart, Bernhard. "Francesco Botticini," ''Old Master Drawings'', vol. 5 (1931): p. 49. |
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*B. Berenson: Florentine School (1963), p. 39 |
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* |
*Van Marle, Raimond. ''The Development of Italian Schools of Painting'', 19 vols (The Hague: Nijhoff, 1923-1938), vol. 13 (1931), pp. 390–427 |
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*Shaw, James Byam. "Francesco Botticini," ''Old Master Drawings'', vol. 9 (1935): p. 58. |
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*B. Berenson: ''The Drawings of Florentine Painters'', 2 vols (Chicago, 1938, rev. 2/1969), i, p. 70; ii, p. 61 |
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*Davies, Martin. ''The Earlier Italian Schools'' (London: National Gallery, 1951, [Second Edition, 1961), pp. 118–27 |
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*H. Friedman: ''Iconography of an Altarpiece by Botticini'', Bull. Met., xxviii (1969), pp. 1–17 |
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* |
*Berenson, Bernard. ''Italian Pictures of the Renaissance:'' ''Florentine School'' (London: Phaidon, 1963), p. 39 |
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*Fahy, Everett. "Some Early Italian Pictures in the Gambier Parry Collection," ''The Burlington Magazine'' (1967): pp. 128–39. |
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*W. M. Griswold: ‘Drawings by Francesco Botticini’, Master Drgs, xxxii/2 (Summer 1994), pp. 151–4 |
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*Bellosi, Luciano. "Intorno ad Andrea del Castagno," ''Paragone'', vol. 9, no. 211 (1967): pp. 10–15. |
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*P. L. Rubin: ''Art and the imagery of memory, Art, memory, and family in Renaissance Florence'', ed. G. Ciappelli and P. L. Rubin (Cambridge, 2000), pp. 67–85 |
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*Berenson, Bernard. ''The Drawings of Florentine Painters'', 2 vols (Chicago: University of Chicago, 1938, [Second Edition: 1969), vol. 1, p. 70, vol. 2, p. 61 |
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*King, Catherine. "The Dowry Farms of Niccolosa Serragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini." Zeitschrift Für Kunstgeschichte 50, no. 2 (1987): 275-78. |
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*Zeri, Federico and Gardner, Elizabeth. ''The Metropolitan Museum of Art, Italian Paintings: Florentine School'' (New York: Metropolitan Museum of Art, 1971), pp. 125–7 |
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*Shaw, J. B. (1935). Francesco Botticini. ''Old Master Drawings'', 9, 58. Retrieved from http://search.proquest.com/docview/1293741301 |
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* |
*Padoa Rizzo, Anna. "Per Francesco Botticini," <abbr>Antichità Viva</abbr>, vol. 5/6 (1976): pp. 3–19 |
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*King, Catherine. "The Dowry Farms of Niccolosa Serragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini." ''Zeitschrift Für Kunstgeschichte'' 50, no. 2 (1987): 275-78. |
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*Griswold, William M. "Drawings by Francesco Botticini," Master Drawings, vol. 21,no. 2 (Summer 1994): pp. 151–4 |
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== Further reading (in Italian) == |
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*Venturini, Lisa. ''Francesco Botticini.'' Florence: Edifir, 1994. |
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*Padoa Rizzo, Anna. "Botticini, Francesco." Grove Art Online. Oxford Art Online Oxford: Oxford University Press, 1996. (accessed 21 February 2017) |
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* A. Padoa Rizzo: ‘Per Francesco Botticini’, <abbr>Ant. Viva</abbr>, xv/5 (1976), pp. 3–19 (Italian) |
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*Bagemihl, Rolf. "Francesco Botticini's Palmieri Altar-Piece." ''The Burlington Magazine'' 138, no. 1118 (1996): pp. 308-14. |
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* L. Venturini: ''Francesco Botticini'' (Florence, 1994) (Italian) |
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*Rubin, Patricia Lee, "Art and the imagery of memory," in ''Art, memory, and family in Renaissance Florence'', edited by Giovanni Ciappelli and Patricia Lee Rubin (Cambridge: Cambridge University Press, 2000), pp. 67–85 |
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* R. Roani Villani: ‘Relazione sulle pitture: Contributo alla conoscienza del patrimonio artistico della diocesi di S Miniato’, Erba d’Arno, xxxii–xxxiii (1988), pp. 62–94 (Italian) |
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*Sliwka, Jennifer. ''Visions of Paradise: Botticini's Palmieri Altarpiece''. London: National Gallery, 2015. |
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* A. Garzelli: ''La miniatura fiorentina del quattrocento'', 2 vols (Florence, 1985), i, pp. 95–7 (Italian) |
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{{Commons category|Francesco Botticini}}{{Authority control}} |
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* Neri di Bicci: ''Le ricordanze, 1453–1475'', ed. B. Santi (Pisa, 1976), pp. 126–7, 333 (Italian) |
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* G. Poggi: ‘Della tavola di Francesco di Giovanni Botticini per la Compagnia di Sant’Andrea di Empoli’, Rivista d’arte, iii (1905), pp. 258–64 (Italian) |
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* P. Bacci: ‘Una tavola sconosciuta con San Sebastiano di Francesco di Giovanni Botticini’, <abbr>Boll. A.</abbr>, n.s. iv(1924–25), pp. 337–50 (Italian) |
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* ''Arte in Valdelsa'' (exh. cat., ed. P. dal Poggetto; Certaldo, Pal. Pretorio, 1963), p. 60 (Italian) |
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* L. Bellosi: ‘Intorno ad Andrea del Castagno’, Paragone, xviii/211 (1967), pp. 10–15 (Italian) |
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* A. Garzelli: ''Il ricamo nell’attività artistica di Pollaiuolo, Botticelli e Bartolomeo di Giovanni'' (Florence, 1973), pp. 20–22 (Italian) |
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* A. Garzelli: ''La miniatura fiorentina del quattrocento'', 2 vols (Florence, 1985), i, pp. 95–7 (Italian) |
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* A. Padoa Rizzo: ‘Pittori e miniatori nella Firenze del quattrocento: In margine a un libro recente’, <abbr>Ant. Viva</abbr>, xxv/5–6 (1986), pp. 5–15 (Italian) |
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* R. Roani Villani: ‘Relazione sulle pitture: Contributo alla conoscienza del patrimonio artistico della diocesi di S Miniato’, Erba d’Arno, xxxii–xxxiii (1988), pp. 62–94 (Italian) |
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Latest revision as of 11:26, 17 July 2024
Francesco Botticini (real name Francesco di Giovanni, 1446 – 16 January 1498[1]) was an Italian painter of the Early Renaissance. He was born in Florence, where he remained active until his death in 1498. Although there are only few documented works by Botticini, a considerable corpus has been confidently attributed to him on the basis of style including a number of altarpieces, dozens of small-scale religious panels and a few portraits.[2][3]
Leben
[edit]Early work
[edit]Botticini was born in Florence in 1446. His father was Giovanni di Domenico di Piero, a naibaio, or painter of playing cards, from whom he probably received his initial artistic training. By 22 July 1459 was a salaried assistant in the workshop of Neri di Bicci. Botticini left Neri's workshop in 24 July 1460. He eventually came into contact with Andrea del Verrocchio, in whose workshop he would have met Leonardo da Vinci, Lorenzo di Credi, Domenico Ghirlandaio, and Pietro Perugino. Though Botticini's presence in Verrocchio's studio is not documented, it is often inferred on the basis of style. Botticini opened his own workshop by 1469, as reported in an arbitration document from that year.[4][2][5] He remained close with his father, who oversaw his working contracts until 1475, when he filed for emancipation. The emancipation was granted in 1477, according to legal records.[4]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/Francesco_Botticini_-_St._Nicolas_and_Sts._Catherine%2C_Lucy%2C_Margaret_and_Apollonia_-_Google_Art_Project.jpg/220px-Francesco_Botticini_-_St._Nicolas_and_Sts._Catherine%2C_Lucy%2C_Margaret_and_Apollonia_-_Google_Art_Project.jpg)
Botticini's earliest works include the Saint Nicholas and Four Female Saints at the National Museum of Western Art, Tokyo, a Saint Sebastian at the Metropolitan Museum of Art, New York,[6] and a Madonna adoring the Child at the Birmingham Museum of Art in Alabama.[7] His earliest dated work is an altarpiece of the Madonna and Child with Saints Sebastian, Pancras, Sebastian and Peter (1471) at the Musée Jacquemart-André, Paris, which is painted under the strong influence of Verrocchio. The Saint Monica Enthroned with Augustinian Nuns in Santo Spirito, Florence, is usually dated-also dated-to this year, as is the famous Three Archangels with the Young Tobias at the Uffizi.
Maturity
[edit]By 1475 Botticini had developed a more personal style, which he first expressed in his most famous work, the large Assumption of the Virgin at the National Gallery, London.[8] Wrongly attributed Botticelli in Giorgio Vasari's Lives of the Artists, this painting has been unanimously attributed to Botticini since the early twentieth century. The attribution is corroborated by extant documents, which state how the painting was begun in 1475 and completed in 1477.[9][4] The picture was commissioned by the poet Matteo Palmieri and his wife Niccolosa, presumably for their burial chapel in the now-destroyed church of San Pier Maggiore, Florence. However, some scholars believe it was instead intended for Palmieri's chapel in the Badia Fiesolana (outside Florence) because the dimensions are almost the same as Hans Memling's Last Judgment, a work initially intended for the Badia but later stolen and taken to Gdansk, Poland. Several preparatory drawings for Botticini's altarpiece survive in various collections.[10]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Francesco_Botticini_-_The_Assumption_of_the_Virgin.jpg/375px-Francesco_Botticini_-_The_Assumption_of_the_Virgin.jpg)
The altarpiece's unusual composition and subject was surely dictated by its patrons, who appear in the lower corners of the composition. The background includes a view of Florence and the Arno valley. Some of Palmieri's properties on the hills of Fiesole, such as the farm included in his wife's dowry, are clearly discernible.[9][4][11] The interpretation of Mary's bodily assumption into heaven, with the Virgin welcomed by rings of angels and saints, is based on the last stanza of Palmeri's poem, the Città di Vita (1465). The poem describes a controversial Lucretian idea that the soul began in heaven and descended to earth, without being crafted by God. Vasari wrote that Botticini's Assumption, like Palmieri's poem, was considered heretical and thus covered soon after its completion.[9] This claim is likely fictitious but the donors' faces have indeed been scratched out, clearly indicating the controversies that surrounded Palmieri's ideas.
In the 1480s Botticini was consistently employed in Florence as well as nearby Empoli. For Empoli's collegiata church of Sant'Andrew he created two large tabernacles, one dedicated to Saint Sebastian and the other the Holy Sacrament. Both tabernacles are today in the adjoining museum. The larger of the two, theTabernacle of the Sacrament, was commissioned in 1486 and was largely complete by 1491, when it was installed on the church's high altar. In 1504, however, Botticini's son Raffaello was called in to add the finishing touches. Several preparatory drawings survive for the draperies of the saints in the side panels.[10]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/c/cf/THE_MADONNA_AND_CHILD_WITH_THE_INFANT_SAINT_JOHN_THE_BAPTIST_IN_A_LANDSCAPE.png/277px-THE_MADONNA_AND_CHILD_WITH_THE_INFANT_SAINT_JOHN_THE_BAPTIST_IN_A_LANDSCAPE.png)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Francesco_Botticini_Tabernacle_of_the_Sacramento._Empoli_Museum.jpg/263px-Francesco_Botticini_Tabernacle_of_the_Sacramento._Empoli_Museum.jpg)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/6/60/Francesco_Botticini_Turin_Study.png/213px-Francesco_Botticini_Turin_Study.png)
In 1488 Botticini painted an altarpiece of the Pietà with Four Saints for the meeting room of the Confraternity of San Domenico del Giglio at the basilica of Santa Maria Novella, Florence, now at the Musée Jacquemart-André, Paris.[12]
Throughout his career, Botticini painted numerous panels with religious subjects for the homes of Florentine citizens. He was especially popular as a painter of tondi, or circular pictures, invariably of the Virgin and the young Saint John the Baptist, patron saint of Florence, kneeling in adoration of the Christ Child. One such example, in remarkably fine condition, appeared at Sotheby's, London, in 2013.[13] Others can be found at the Galleria Palatina, Florence; the Louvre, Paris; and the Museo Soumaya, Mexico City.
Late work
[edit]Botticini continued to work throughout the last during the last decade of his career, receiving important commissions for Florence and its surroundings. Around 1490 he painted the Madonna and Child in Glory with Saints Mary Magdalen and Bernard, formerly at theFlorentine church of the Cestello and now at the Louvre, and in 1493 he painted a Madonna and Child with Two Angels and Saints Benedict, Francis, Sylvester and Anthony Abbot for the Compagnia della Vergine in Fucecchio (west of Florence), now at the Metropolitan Museum of Art.[14]
In the mid-1490s he completed his most ambitious late altarpiece, an imposing Saint Jerome with Saints and Angels (the San Gerolamo Altarpiece), commissioned by wealthy Rucellai family for the convent of San Girolamo, Fiesole.[15] This work, now at the National Gallery in London, depicts Saint Jerome in the central panel between Pope Damasus, Saint Eusebius, Saint Paula and Saint Eustochium; six angels appear in the sky above and a group of donors kneel below. The painting is unusual for including the central saint in a separate frame, creating a sort of picture-within-a-picture. As described by art critic Charles Darwent, "By giving his picture-within-a-picture of St Jerome its own gilt frame, the artist (Botticini) sets up a sequence of overlapping realities. The framed image exists as a separate artwork for us, the viewer, but also for the painted saints who seem to study it: even holy martyrs, it says, can be moved by the power of art."[16] A drawing once considered a study for the figure of the Saint Jerome in the altarpiece is now recognized as a work by Domenico Ghirlandaio and linked to a fresco of the saint at the Bargello, Florence, painted by Ghirlandaio's brother-in-law, Bastiano Mainardi.[17]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Botticini%2C_Francesco_-_San_Gerolamo_Altarpiece_-_National_Gallery_London.jpg/262px-Botticini%2C_Francesco_-_San_Gerolamo_Altarpiece_-_National_Gallery_London.jpg)
In 1495 Botticini painted an altarpiece of the Madonna and Child with Saint Francis, the Archangel Raphael and the Young Tobias for the Rinuccini chapel in San Pier Scheraggio, Florence. This work is now at the National Galleries of Scotland, Edinburgh, on loan from a private collection.[18]
Botticini died in Florence on 16 January 1498 at the age of 51. His workshop was inherited by his son Raffaello Botticini, who had a prolific activity of his own.[2]
Posthumous reputation
[edit]In April 1968, Esquire Magazine imitated Botticini's Saint Sebastian at the Metropolitan Museum of Art in a cover shot of Muhammad Ali. The cover was meant to relate the persecution of Saint Sebastian to that of Muhammad Ali, when we was stripped of his heavyweight boxing title for refusing to serve in the Vietnam War. George Lois, the magazine's art director at the time, came up with the idea and pitched it to Ali. Ali initially liked the connection between the suffering of the Saint and himself, but initially refused to pose as a Christian. He eventually agreed after speaking with the leader of the Nation of Islam, Elijah Muhammad, and studying a postcard of Botticini's painting. The final product shows Ali with his hands bound behind him, arrows piercing his torso, his head tilted upwards in pain, in imitation of Botticini's saint.[19][20]
Notes
[edit]- ^ Getty Museum entry.
- ^ a b c Rizzo, Anna Padoa (26 May 2010). "Botticini, Francesco". Oxford Art Online.
- ^ Venturini, Lisa (1994). Francesco Botticini. Florence: Edifir.
- ^ a b c d Bagemihl, Rolf (May 1996). "Francesco Botticini's Palmieri Altar-Piece". Burlington Magazine Publications LTD. 138 (1118): 308–314. JSTOR 886902.
- ^ Serros, Richard David (1999). THE VERROCCHIO WORKSHOP: Techniques, production and Influences. University of Louisville. pp. 221–226.
- ^ "Francesco Botticini - Saint Sebastian".
- ^ "Madonna Adoring the Christ Child - Francesco Botticini". 4 August 2023.
- ^ "The Assumption of the Virgin - Francesco Botticini".
- ^ a b c King, Catherine (1987). "The Dowry Frams of Niccolosa Sserragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini". Zeitschrift für Kunstgeschichte. 50 (2): 275–278. doi:10.2307/1482328. JSTOR 1482328.
- ^ a b Griswold, William (Summer 1994). "Drawings by Francesco Botticini". Master Drawings. 32: 151–154.
- ^ Branagan, David (2006). "Geology and the artists of the fifteenth and sixteenth century, mainly Florentine". Geology Society of America. 411: 31–35.
- ^ Venturini, Lisa (1994). Francesco Botticini. Florence: Edifir. pp. 122–123.
- ^ "Francesco Botticini". Sotheby's. 2013. Archived from the original on 24 April 2017. Retrieved 24 April 2017.
- ^ "Metropolitan Museum of Art - Search the Collections".
- ^ "Francesco Botticini | S. Gerolamo Altarpiece".
- ^ Darwent, Charles (July 2011). "All Things Bright and Beautiful". The Independent on Sunday. London, United Kingdom: 6.
- ^ Degenhart, Bernhard (December 1930). "Francesco Botticini, Study of a St. Jerome". Old Master Drawings: 49–51.
- ^ 'A Poet in Paradise': Lord Lindsay and Christian Art. Edinburgh: National Galleries of Scotland. 2000. pp. 78–79.
- ^ "How Muhammad Ali's 'Esquire' Cover Helped Cement a Legend". Rolling Stone. Retrieved 23 April 2017.
- ^ "This Way In". Esquire. 2008. ProQuest 210369046.
References
[edit]- Neri di Bicci, Le ricordanze, 1453–1475, edited by Bruno Santi (Pisa, 1976), pp. 126–7, 333 (Italian)
- Poggi, Giovanni. "Della tavola di Francesco di Giovanni Botticini per la Compagnia di Sant’Andrea di Empoli’, Rivista d’arte, vol. 3 (1905): pp. 258–64.
- Kühnel, Ernst. Francesco Botticini. Strassburg: Heitz, 1906.
- Bacci, Piero. ‘Una tavola sconosciuta con San Sebastiano di Francesco di Giovanni Botticini’, Bollettino d'Arte, n.s. iv (1924–25): pp. 337–50.
- Degenhart, Bernhard. "Francesco Botticini," Old Master Drawings, vol. 5 (1931): p. 49.
- Van Marle, Raimond. The Development of Italian Schools of Painting, 19 vols (The Hague: Nijhoff, 1923-1938), vol. 13 (1931), pp. 390–427
- Shaw, James Byam. "Francesco Botticini," Old Master Drawings, vol. 9 (1935): p. 58.
- Davies, Martin. The Earlier Italian Schools (London: National Gallery, 1951, [Second Edition, 1961), pp. 118–27
- Berenson, Bernard. Italian Pictures of the Renaissance: Florentine School (London: Phaidon, 1963), p. 39
- Fahy, Everett. "Some Early Italian Pictures in the Gambier Parry Collection," The Burlington Magazine (1967): pp. 128–39.
- Bellosi, Luciano. "Intorno ad Andrea del Castagno," Paragone, vol. 9, no. 211 (1967): pp. 10–15.
- Berenson, Bernard. The Drawings of Florentine Painters, 2 vols (Chicago: University of Chicago, 1938, [Second Edition: 1969), vol. 1, p. 70, vol. 2, p. 61
- Zeri, Federico and Gardner, Elizabeth. The Metropolitan Museum of Art, Italian Paintings: Florentine School (New York: Metropolitan Museum of Art, 1971), pp. 125–7
- Padoa Rizzo, Anna. "Per Francesco Botticini," Antichità Viva, vol. 5/6 (1976): pp. 3–19
- King, Catherine. "The Dowry Farms of Niccolosa Serragli and the Altarpiece of the Assumption in the National Gallery London (1126) Ascribed to Francesco Botticini." Zeitschrift Für Kunstgeschichte 50, no. 2 (1987): 275-78.
- Griswold, William M. "Drawings by Francesco Botticini," Master Drawings, vol. 21,no. 2 (Summer 1994): pp. 151–4
- Venturini, Lisa. Francesco Botticini. Florence: Edifir, 1994.
- Padoa Rizzo, Anna. "Botticini, Francesco." Grove Art Online. Oxford Art Online Oxford: Oxford University Press, 1996. (accessed 21 February 2017)
- Bagemihl, Rolf. "Francesco Botticini's Palmieri Altar-Piece." The Burlington Magazine 138, no. 1118 (1996): pp. 308-14.
- Rubin, Patricia Lee, "Art and the imagery of memory," in Art, memory, and family in Renaissance Florence, edited by Giovanni Ciappelli and Patricia Lee Rubin (Cambridge: Cambridge University Press, 2000), pp. 67–85
- Sliwka, Jennifer. Visions of Paradise: Botticini's Palmieri Altarpiece. London: National Gallery, 2015.
![](http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)