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Dates: 13 Nov 09 - 28 Feb 10
Categories: Old Master
Address: Städelsches Kunstinstitut und Städtische Galerie, Durerstrasse 2 Frankfurt D-60596
Tel: +49 (0)69 605 09 80 Website

It is a commonplace that some artists reach in their old age a “late style” characterised by loose, free expression and a distillation of experience (for example, Michelangelo and Titian) while others wither and decay (for example, Pontormo and Domenichino). Botticelli is reckoned, however, to have taken a different trajectory by turning, in his old age, from a mature style and content to the manner and concerns of his youth. The life and work of Sandro Botticelli is, like Caesar’s Gaul, divided in partes tres: his Florentine early training and career, from his birth in 1444/45 to around 1478, covering the years of his apprenticeship under Fra Filippo Lippi and in which he produced works such as St Sebastian, 1473-74, and a number of frescoes in Florence and Pisa, most of which are now lost. During the years of his maturity, around 1478 to 1490, he painted most of the works for which he is famous: frescoes in Florence and Rome, altarpieces, portraits, allegories and mythological narratives. Here he perfected his personal style, perhaps best described as a combination of International Gothic and classical prototypes, an assimilation of the stile nuovo and antico, in which figures are presented in supple contours, contrapposto, graceful proportions, most memorably exemplified in the Primavera, around 1478, and The Birth of Venus, 1482-86. This high courtly style also informed his religious paintings (shown, The Virgin Adoring the Sleeping Christ Child, about 1490), which may have incurred the censure of the charismatic Dominican reformer, Girolamo Savonarola, who, it is believed, came to influence Botticelli as, from the 1490s until his death, the artist turned back to the simplicity and affective expression of his early work. This maniera devota, inspired by moral and religious sentiment, resulted in works such as the Mystic Nativity, around 1500, and the illuminations for a luxurious, unfinished manuscript edition of The Divine Comedy, 1490s. Following his death, Botticelli fell from favour and it was not until 19th-century art historians began to resurrect and elevate Florentine artists that he came again into favour. This process was initiated mainly by German art historians and collectors: the Berlin museum acquired the St Sebastian and the Bardi altarpiece in the 1820s; Walter Ullmann produced the first Botticelli monograph in 1893 and Aby Warburg produced his influential dissertation in the same year. Thus it comes as something of a surprise that this is the first Botticelli show to take place in the German-speaking world (pace the exhibition of the Divine Comedy illuminations in Berlin in 2000-01). The exhibition is curated by Andreas Schumacher, the director of the pre-1800 Italian, French and Spanish paintings collections, and is the first in line to celebrate the quincentenary of the artist’s death (1510). The show, like Botticelli’s life, is in three parts: his portraits and allegorical paintings, the mythologies and, finally, his religious œuvre. Although many of the works have recently been seen in the shows at the Palais de Luxembourg (2003-04) and at the Palazzo Strozzi (2004)—the fragility, the renown and the limited number of his works make it impossible to transport many of them—this exhibition includes workshop pieces and drawings from private lenders never seen before in public. Special attention is given to the unrequited love Botticelli bore for the celebrated beauty Simonetta Vespucci (around 1453-76), wife of a Florentine nobleman, who is thought have been his model for his Venuses (and with whom he was buried), and to his works commissioned by the Medici. In addition to the 40 Botticelli paintings, there are 40 by Verrocchio, Antonio del Pollaiuolo and Filippino to put Botticelli’s work into a historical context. The show is sponsored by the Commerzbank-Stiftung with support from Alnatura Produktions- und Handels, the Italian National Tourist Board, Weleda and Ikarus design. The catalogue is edited by Dr Schumacher and published by Hatje Cantz (€49.80).

The Virgin Adoring the Sleeping Christ Child, about 1490