1500 (ca.), Sandro Botticelli and workshop, Adoration of the Child with Angels ("Madonna of the Roses") -- Uffizi Gallery (Florence)
From the museum label: Four angels flank the Virgin kneeling in adoration of the Child whose hand is raised in blessing. The painting's title comes from the roses in the background, symbol of Mary's charity and an allusion to Christ's sacrifice. Round paintings (tondos) were destined for bridal chambers in stately homes as good omens of fertility. In fact, they usually depict the adoration of the Child, or other birth-related themes. As in many of his later works, here too, Botticelli had his workshop assistants paint the less important parts of the composition and execute his creations.
1500 (ca.), Sandro Botticelli and workshop, Adoration of the Child with Angels ("Madonna of the Roses") -- Uffizi Gallery (Florence)
From the museum label: Four angels flank the Virgin kneeling in adoration of the Child whose hand is raised in blessing. The painting's title comes from the roses in the background, symbol of Mary's charity and an allusion to Christ's sacrifice. Round paintings (tondos) were destined for bridal chambers in stately homes as good omens of fertility. In fact, they usually depict the adoration of the Child, or other birth-related themes. As in many of his later works, here too, Botticelli had his workshop assistants paint the less important parts of the composition and execute his creations.