el infierno de botticelli

el infierno de botticelli

El infierno de botticelli
It is often thought that Botticelli’s drawings were commissioned by Lorenzo di Pierfrancesco de’ Medici, an important patron of the artist. The early 16th-century writer known as the Anonimo Magliabecchiano says that Botticelli painted a Dante on parchment for Lorenzo, but makes it sound as if this was a completed work. Alternatively the drawings we have may have been a different set for Botticelli’s own use and pleasure, which is the conclusion of Ronald Lightbown. [14]
Each page was first drawn with a metal stylus, leaving lines that are now very faint. There are numerous changes evident, which are easy to make in this technique. The next stage was to go over these lines with a pen and black or brown ink. Most of the pages were not taken beyond these stages, which are often found together on a page, with only some areas inked over. Other pages have not yet been inked at all. Only four pages fully received the final stage of colouring in tempera, though others are part-coloured, usually just the main figures. It has been argued that Botticelli, or his patron, came to prefer the uncoloured drawings, and deliberately left the rest, but this is not accepted by most scholars. [23]

El infierno de botticelli
During the time spent at the Lippi’s workshop Botticelli painted many Madonnas with the style of his master. On the death of Lippi in 1469, he opened his workshop and began his personal production of paintings influenced by Pollaiuolo and Verrocchio. In 1472 he joined the Compagnia di San Luca, the brotherhood of artists in Florence. In 1475 he began working for the Medici family, who commissioned many works to beautify their homes.
In 1478 the series of allegories and myths began: “The Spring” of 1478, “Pallas taming the Centaur” of 1482, “Venus and Mars” in 1483 and “Birth of Venus” in 1484.
In this same period, 1481-82, he was called to Rome to work on the frescoes of the Sistine Chapel. These are the only works that he realized far from Florence.
In the following years he continued painting remaining loyal to his style based on refined elegance and charming ethereal figures, the choice of the subjects instead underwent a change, returning to prevail religious subjects on mythological themes. This change coincided with the death of Lorenzo de ‘Medici (1492).

El infierno de botticelli
Botticelli Inferno is a 2016 Italian-German documentary film directed by Ralph Loop. The film is part of the project Great Art Cinema and analyses one of the most mysterious works of Sandro Botticelli, the Map of Hell in the Divine Comedy Illustrated by Botticelli in the Vatican Library. [2] [4] The map was originally part of an illustrated manuscript of Dante’s Divine Comedy, featuring artwork by Botticcelli.
The drawing is about 30 by 40 centimetres and in the film it is examined by a glove-wearing German art historian inside the air-conditioned vaults of the Vatican. A letter from Friedrich Lippmann, director of Kupferstichkabinett Berlin, who in 1882 brought 85 of Botticelli’s 102 drawings to the museum, is also shown in the film. A high-performance digital scanner is used in the film to reveal details in the map which could not be discerned by the human eye. [2] [5] [7]

El infierno de botticelli
What I think they did really well is giving good context! The director managed to give you an idea of how Botticelli might have felt like at certain points in his life and during the process of creating. He does it by looking at the inconsistency in Botticeli’s work and giving specific evidence. It seems pretty good researched!
I also liked the sequences when they asked random people in the street, how they would interpret Dante’s Inferno from a toady’s standpoint. Gives the movie a nice twist.

El infierno de botticelli
The Botticelli Map of Hell has appeared in a novel by Dan Brown, and in a recent documentary. This has captured the imagination of the public, so here we take a closer look at these extraordinary drawings and the artists behind the story.
One of Botticelli’s drawings was the Map of Hell, a visual imagining of all hells’ punishments. Many agree that it’s one of the most impressive of all Botticelli’s drawings. Within it Hell is represented as an inverted cone, and full of gory details. Just like in the Divine Comedy.

El infierno de botticelli
Même après plusieurs siècles, les œuvres de Botticelli attisent toujours autant la curiosité et continuent à passionner. Chaque année, ses peintures les plus célèbres attirent des milliers de visiteurs. Cependant, l’un de ses dessins les plus intimes et les plus mystérieux – peut-être l’un des plus significatifs – est resté caché pendant des années dans les voûtes climatisées du Vatican. Il s’agit du dessin que Botticelli a consacré à l’Enfer de La Divine Comédie de Dante, et qui devient maintenant sujet principal de ce documentaire original et passionnant.
Le film-documentaire “Botticelli – Inferno” est écrit et réalisé par Ralph Loop. Pendant des siècles, la carte de l’Enfer (“Inferno” en italien) était enfermée dans les voûtes du Vatican. Ce film tente de déceler les inspirations du maître florentin, connu pour ses peintures telles que « La naissance de Vénus » et « Printemps» – afin de dessiner et de peindre l’Enfer tel le décrit le poète Dante.

El infierno de botticelli
Los trabajos de Botticelli dedicados a la “Divina Comedia” de Dante Alighieri, sobresalen como algunos de los más refinados de su vasta producción pictórica. Las ilustraciones que realizó Sandro Botticelli (1445-1510) para la “Divina Comedia”, magna obra del poeta Dante Alighieri (1265-1321) se cuentan entre sus más finos trabajos. Actualmente se tiene conocimiento de 94 grabados, los cuales se atesoran en la biblioteca del Vaticano y el Gabinete de Grabados al Cobre de Berlín.
Parece que Botticelli efectuó también en la década de 1480, los dibujos complementarios a los que sirvieron como base para los grabados en bronce, de esta primera edición de la Comedia. De acuerdo a ciertas fuentes del siglo XVI, Lorenzo di Pierfranceso de Médicis, primo de Lorenzo el Magnífico, fue el comitente del proyecto. No se ha determinado por qué las figuras de Botticelli quedaron sin acabar, puesto que los dibujos sobre pergamino debían de colorearse, tal como se observa en la ilustración correspondiente al canto 18 del Infierno, y la titulada como El embudo del Infierno. A pesar de lo anterior, la elegancia de los trazos de Botticelli, realizados con lápiz de plata y resaltados con pluma y tinta, hace que los dibujos no requieran de una coloración adicional.