Copy after Botticelli Julian Alden Weir American Weir likely made this watercolor copy after Botticelli’s painting of the same name (ca. 1470–75; Musée du Louvre, Paris) when he was studying in Paris in the 1870s. As a student of the École des Beaux-Arts, he would have been encouraged to study the works of the old masters at the Louvre. Much celebrated today, Botticelli’s reputation was undergoing a revival in the mid-nineteenth century when he was "rediscovered" by British critic and painter John Ruskin (1819–1900) and the Pre-Raphaelites. Critic Walter Pater (1839–1894) wrote a glowing essay
Copy after Botticelli Julian Alden Weir American Weir likely made this watercolor copy after Botticelli’s painting of the same name (ca. 1470–75; Musée du Louvre, Paris) when he was studying in Paris in the 1870s. As a student of the École des Beaux-Arts, he would have been encouraged to study the works of the old masters at the Louvre. Much celebrated today, Botticelli’s reputation was undergoing a revival in the mid-nineteenth century when he was "rediscovered" by British critic and painter John Ruskin (1819–1900) and the Pre-Raphaelites. Critic Walter Pater (1839–1894) wrote a glowing essay about Botticelli in 1870, describing him as "a poetical painter" who blends "the charm of story and sentiment."
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Photo credit: © MET/BOT / Alamy / Afripics
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