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Extra resources for Botticelli: Allegory of Spring
The search for a disembodied "beauty" containing the sarcophagus a series of closed which the figures are inserted in which Christ entombed. will Florence, Uffizi). by force, making them contrast between Known seem oppressed and dominated by the colors as the St Barnabas Altarpiece, was commissioned the panel their grief at the loss they be TTie strong and is still present in the figure of Christ, while the face of St John, next to the leaden tones the Virgin, is strongly of the flesh contributes expressive.
Are twisted in pain. The Virgin, St Michael, the angels, and St Catherine still belong to his preceding stylistic phase, while the other saints reflect the search for a new Icmguage that has not yet been Notice in particular the figure fully defined. of Mary Magdalene at lower left tenderly embracing Christ's feet, crouching in a stylized and unnatural curve. 35 l>RODUCTION: THE LAST WORKS THE CRISIS YEARS The in THE MYsnc mythical Golden Age, greeted with great enthusiasm Florence by men of culture, was already on the wane.
C. Botticelli, Milan los Reyes. The Mystic Lightbown, Sandro mavera, Milan Botticelli. 5x76; National Gallery of Art. IBIiyj E. Capretti, Botticelli, Florence Pri- ONE HUNDRED PAINTINGS: every one a masterpiece Also available: Raphael, Dali, Manet, Rubens, Leonardo, Rembrandt, Van Gogh, Kandinsky, Renoir, Chagall %- •' ^ fOKtuMrAt^a ^^H&«.