Sandro Botticelli Quotes Buy Art Prints Now
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Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on October 14, 2023
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You can understand more about an artist by studying their most famous quotes

Botticelli was rarely outspoken as an individual and preferred the company of close friends to larger gatherings.

As such, there are very few reliable quotations attributed to his life. The length of time that has passed since this period of the renaissance also makes it hard to confidently establish his personal conversations accurately.

Quotes by Sandro Botticelli

Currently there are no reliably attributed Sandro Botticelli quotes.

Quotes on Sandro Botticelli

With relatively few surviving, attributed quotes from Botticelli, we include some significant opinions on the artist from others. These include art historians from across the ages and researchers who have spent huge amounts of time collating information on this master's life and career.

Sandro's drawing was much beyond the common level... [and that other artists] strove to obtain examples.

Giorgio Vasari

I wear myself out trying to render the orange trees so that they're not stiff but like those I saw by Botticelli in Florence. It's a dream that won't come true.

Berthe Morisot

The Louvre! The Louvre has me in its clutches. Every time I'm there rich blessings rain down upon me. I am coming to understand Titian more and more and learning to love him. And then there is Botticelli's sweet Madonna, with red roses behind her, standing against a blue-green sky. And Fiesole with his poignant little biblical stories, so simply told, often so glorious in their colors.

Paula Modersohn-Becker

Botticelli is one of the supreme masters of line in the history of painting. His art is the culmination of the linear tradition of the Quattrocento and brings it to a pinnacle of expressiveness.

McGraw-Hill Dictionary of Art

Figures are designed and painted with plastic subtlety and confident mastery; they are incarnate with vitality, each seeming to have taken form unforced, imaged on wall or panel or canvas with resolute immediacy. Their scaling and the recession of their setting are in harmonious consonance, and the settings unfold themselves with a naturalness that conceals the artful skill of their devising.

Ronald Lightbown in Botticelli: Life and Work

His bodies are more attenuated and drained of all weight and muscular power. Indeed, they seem to float even when they touch the ground. All this seems to deny the basic values of the founders of Early Renaissance art, yet the picture does not look medieval.

H. W. Janson in History of Art, discussing The Birth of Venus