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Artistic effervescence reigns in the Florence of the Medici. The exchanges of tech- niques between the workshops allowed Botticelli to progress in all the fields giving birth in 1480 to his famous “Madonna au Livre”.
As early as 1469, he took in the son of his former master Filippo Lippi (1457 - 1504) and Filippino quickly took a prominent place in Botticelli’s studio, as evidenced by the works they produced together. They will also maintain this artistic dialogue throughout their careers.
All the pieces from the workshop are the result of active collaboration, which does not prevent their attribution to Botticelli.
Botticelli was interested in all the techniques of his time and his training as a goldsmith enabled him to execute plans and designs which were then reproduced in tapestries, embroidery or marquetry. The image of Minerva, goddess of wisdom, war and the arts, dear to the Medici, is thus depicted by Botticelli on numerous media with a constantly renewed inventiveness.
The Medici appreciated the unique style of Botticelli who painted the portrait of the young Julien de Médicis assassinated in 1478 as well as that of his mistress, the beautiful Simonetta, who embodies absolute beauty and of which Botticelli will make his eternal Venus. He will even ask to be buried at his feet because she will disappear swept away by the disease at only twenty-three years old. Botticelli will continue to give her features to the Goddess of Love until the end of her own days.
Alessandro Filipepi dit Botticelli (vers 1445 – 1510),
Portrait of Julien de Medici, circa 1478–1480,
tempera and oil on wood, 59.5 × 39.3 cm,
Bergamo, Accademia Carrara © Fondazione Accademia Carrara, Bergamo