File:The Mystical Nativity.jpg
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Sandro Botticelli: The Mystical Nativity | ||||||||||||||||||||||||||||
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Artist |
artist QS:P170,Q5669 |
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Title |
Mystic Nativity
label QS:Lit,"Natività mistica"
label QS:Lfr,"La Nativité mystique"
label QS:Lsk,"Mystické narodenie"
label QS:Lru,"Мистическое Рождество"
label QS:Lde,"Mystische Geburt"
label QS:Lpt,"A Natividade Mística"
label QS:Len,"Mystic Nativity"
label QS:Les,"Natividad mística" |
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Object type | painting | |||||||||||||||||||||||||||
Genre | religious art | |||||||||||||||||||||||||||
Description | ||||||||||||||||||||||||||||
Depicted people | ||||||||||||||||||||||||||||
Date | c. 1500-1501 | |||||||||||||||||||||||||||
Medium |
oil on canvas medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 |
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Dimensions | 108.5 × 75 cm (42.7 × 29.5 in) | |||||||||||||||||||||||||||
Collection |
institution QS:P195,Q180788 |
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Accession number |
NG1034 (National Gallery) |
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References |
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Source/Photographer | National Gallery, London | |||||||||||||||||||||||||||
Permission (Reusing this file) |
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Other versions | See Category:Mystic Nativity (Botticelli) |
Items portrayed in this file
depicts
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 04:49, 20 September 2006 | 850 × 1,116 (353 KB) | Torvindus~commonswiki | Painting by Sandro Botticelli c. 1501 Category:Sandro Botticelli |
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JPEG file comment | BOTTICELLI, Sandro
(b. 1445, Firenze, d. 1510, Firenze) The Mystical Nativity c. 1500 Tempera on canvas, 108,5 x 75 cm National Gallery, London There is no documentary evidence to prove whether or not Botticelli was one of Savonarola's follower. But certain themes in his later works - like the Mystic Nativity - are certainly derived from the sermons of Savonarola, which means that the artist was definitely attracted by that personality so central to the cultural and political events of Florence during the last years of the fifteenth century. It has been suggested that this picture, the only surviving work signed by Botticelli, was painted for his own private devotions, or for someone close to him. It is certainly unconventional, and does not simply represent the traditional events of the birth of Jesus and the adoration of the shepherds and the Magi or Wise Men. Rather it is a vision of these events inspired by the prophecies in the Revelation of Saint John. Botticelli has underlined the non-realism of the picture by including Latin and Greek texts, and by adopting the conventions of medieval art, such as discrepancies in scale, for symbolic ends. The Virgin Mary, adoring a gigantic infant Jesus, is so large that were she to stand she could not fit under the thatch roof of the stable. They are, of course, the holiest and the most important persons in the painting. The angels carry olive branches, which two of them have presented to the men they embrace in the foreground. These men, as well as the presumed shepherds in their short hooded garments on the right and the long-gowned Magi on the left, are all crowned with olive, an emblem of peace. The scrolls wound about the branches in the foreground, combined with some of those held by the angels dancing in the sky, read: 'Glory to God in the highest, and on earth peace, goodwill toward men' (Luke 2:14). As angels and men move ever closer, from right to left, to embrace, little devils scatter into holes in the ground. The scrolls held by the angels |
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