The Virgin and Child with Two Angels and St. John the Baptist - Sandro Botticelli
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Beskrivning
An early Renaissance devotional painting by Sandro Botticelli, featuring the Virgin Mary with the Christ Child, two angels, and Saint John the Baptist.
This work, attributed to the Florentine master Sandro Botticelli, dates to his early period. It depicts the Virgin Mary holding the Christ Child, accompanied by two angels and the young Saint John the Baptist. The composition reflects the influence of Filippo Lippi, with whom Botticelli trained. The figures are arranged in a tight, pyramidal structure, a common device in devotional paintings of the Quattrocento.
Botticelli employs a delicate application of tempera, focusing on the soft modelling of the faces and the linear grace of the drapery. The Virgin is shown in a contemplative state, her gaze directed downward, while the Christ Child reaches out, creating a sense of movement within the static group. The inclusion of Saint John the Baptist, holding his characteristic reed cross, provides a narrative link to the future passion of Christ. The background is simplified, allowing the viewer to focus on the expressions and the physical interaction between the figures.
Technical analysis of the panel reveals the precise, controlled brushwork typical of Botticelli's early career. The colour palette is restrained, relying on the contrast between the deep blue of the Virgin's mantle and the warm, earthy tones of the robes and flesh. The halos are rendered with a subtle, golden application, adding a sense of divinity without overwhelming the human quality of the subjects. This piece is a fine example of the devotional art produced in Florence during the late fifteenth century, intended for private meditation rather than public display. The work demonstrates the artist's early mastery of human anatomy and his ability to convey emotional weight through subtle gestures and facial expressions, characteristics that would define his later, more famous mythological compositions.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Virgin and Child with Two Angels and St. John the Baptist - 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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