around 1446 -1497 · Florentine Renaissance, celestial hierarchies and workshops of the Quattrocento

Ordered angels, precious colors, Tuscan landscapes and slender figures give Francesco Botticini a unique place among the Florentine masters of the end of the 15th century.

Francesco di Giovanni, known as Francesco Botticini, was born in Florence around 1446. Exactly contemporary with Sandro Botticelli, he was long confused with him or presented as his student. Documents remain cautious about his training, but his art shows an attentive knowledge of Botticelli, Verrocchio, Filippo Lippi and the very mobile world of Florentine workshops. Botticini works as a painter and craftsman, responding to commissions for altarpieces, tabernacles and devotional images. Botticini works as a painter and craftsman, responding to commissions for altarpieces, tabernacles and devotional images. Botticini works as a painter and craftsman, responding to commissions for altarpieces, tabernacles and devotional images. Botticini works as a painter and craftsman, responding to commissions for altarpieces, tabernacles and devotional images. Botticini works as a painter and craftsman, responding to commissions for altarpieces, tabernacles and devotional images. Botticini works as a painter and craftsman, responding to commissions for altarpieces, tabernacles and devotional images. His only work documented with certainty is a tabernacle commissioned in 1484 for Empoli. His great Assumption of the Virgin, painted for the Palm Maggiore remains his masterpiece. The sky opens in concentric circles of patriarchs, saints, angels and celestial powers, while the apostles surround the flowering tomb on earth. This ability to articulate theological hierarchy, spectacle and detail is found in his Virgins in glory. The cherubim and seraphim form an architecture of color around the mother and the Child. The cherubim and seraphim form an architecture of color around the mother and the Child. In The Three Archangels with Tobit, the figures advance side by side in a clear landscape, connected by hands, looks and the rhythm of draperies. Botticini gives equal place to line, ornaments and narrative readability. Botticini gives equal place to line, ornaments and narrative readability. Botticini gives equal place to line, ornaments and the rhythm of draperies. Botticini gives equal place to line, ornaments and narrative readability. Botticini gives equal place to line, ornaments and narrative readability. Botticini gives equal place to line, ornaments and the rhythm of draperies. Botticini gives equal place to line, ornaments and narrative readability. Botticini gives equal place to line, ornaments and the rhythm of draperies. Botticini gives equal bold colors. Died in Florence in 1497, he embodies a studio Renaissance where personal invention is built through the emulation of the great masters and the circulation of models. The "Francesco Botticini" selection notably compares Virgin and Child in glory and The Three Archangels with Tobit. His reading favors the material.

Botticini orders the sky like a living altarpiece: rows of angels, colors and gestures transform the doctrine into a clear and luminous spectacle.