Madonna with Child and Singing Angels - Sandro Botticelli
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Descripción
A classic Renaissance tondo by Sandro Botticelli, featuring the Virgin Mary and Christ Child surrounded by singing angels.
This circular composition, or tondo, is a characteristic example of the Florentine Renaissance. Sandro Botticelli depicts the Virgin Mary holding the Christ Child, surrounded by a group of angels. The figures are arranged in a tight, semi-circular formation that conforms to the circular frame of the panel. The Virgin Mary occupies the centre, her expression marked by a sense of melancholy or contemplation. The angels, some of whom hold a book of music, appear to be singing, which gives the work its traditional title.
Botticelli employs a delicate use of line to define the features of the figures, particularly the soft contours of the faces and the flowing drapery of the garments. The background features a series of white lilies, which are traditional symbols of the purity of the Virgin. The use of tempera on wood panel allows for a clarity of colour and detail that is typical of the period. The composition is balanced, with the figures of the angels providing a frame for the central figures of the mother and child. The light is soft and even, avoiding dramatic shadows and focusing instead on the grace of the forms. This work reflects the interest of the period in humanising religious subjects, presenting the sacred figures with a sense of physical presence and emotional depth. The circular format was a popular choice for domestic devotional works in Florence during the late fifteenth century, often commissioned for private homes rather than public churches.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Madonna with Child and Singing Angels - Sandro Botticelli
Artist Biography
Sandro Botticelli
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
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