late style to medieval painting traditions. This proved to
be well-suited to cater for the demands of patrons who,
through Savonarola, were made fearful of indulgence
and ostentation they had become accustomed to.
They were therefore receptive to an art grounded in the
simplicity of the Early Christian Church. The evocative
yet reverent subject of the Adoration was similarly suited
to conveying a personal message. The lack of spatial
depth and unnaturalistically proportioned and contorted
figures carved out by Botticelli���s linear technique leave
the viewer confronted with the austerity of the scene.
Complex in execution, Botticelli left a powerful, though
fragmented image. H
Alexander R��stel, born in Magdeburg, Germany, be-
gan his career as a management consultant and corporate student at I.B.M., working in Germany, England and the United States,
while at the same time studying towards a BA (with distinction) in
International Business Administration at Berlin School of Economics. He is now following his life-long passion and studying History of
Art at the University of Cambridge with a particular focus on Italian
Renaissance art. In addition, he is a fan of Meryl Streep, Anja Harteros and Thomas Mann.
HYLAND
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