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The ''Portrait of Smeralda Brandini'' is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London (museum no. CAI.100). ==Sitter and author== The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture ''Smeralda di M.Bandinelli Moglie di VI... Bandinelli'', who has been identified as the grandmother of the sculptor Baccio Bandinelli.〔(Vanessa Müller."how Botticellian!" )〕 It is likely that the inscription was added at a later date, as the sculptor only took that surname in 1530.〔(Victoria and Albert Museum web-site )〕 On the evidence of the inscription, the portrait may be of Esmeralda (Smeralda) Donati Brandini, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo and his noble wife Catarina, a daughter of Taddeo Ugolino). From archive documents it is known that in 1469 Smeralda was 30; her husband Viviano 38; their children Michelangelo 12, Giovanbatista 2, and Lucrezia 10.〔(Louis Alexander Waldman. Baccio Bandinelli and art at the Medici court )〕 It has been suggested that the portrait was painted by one of Botticelli's assistants during the 1470s. William Michael Rossetti said: "Leading critics will now have it that the portrait is not the work of Botticelli himself, but of someone for whom they have invented the name 'Amico di Sandro'".〔 The V&A, however, still attributes the painting to Botticelli himself. It was once suspected that the portrait was one of Ignazio Hugford II's forgeries.〔(Fabulous Faces; Dulwich Gallery Has Scored a Coup with Its New Show of Artists' Self Portraits from the Uffizi's Sublime Collection // The Evening Standard (London, England), May 18, 2007. )〕 The art historian Julia Cartwright (1851–1924) refers to the sitter as the wife of Michele Bandinelli of Gaiuole, and attributes the portrait to an assistant of Botticelli.〔(Esther D. Singleton. Great Portraits, as Seen and Described by Great Writers. P.129 )〕 Although she names Smerelda and says that Michele was a talented goldsmith who had the Medici as clients for many years, is likely that Cartwright has confused Viviano with his son Michelangelo (Michele) because in 1475, the year of the tournament of La Giostra to which she refers, Michele was only 18 years old and his father was much better known.〔Later, in his ''Lives'', Vasari singled out Michele as the best jeweller in Florence (see note 3, chapter 86, book 1). Michele became the first master of Benvenuto Cellini (1516-17) who hated Michele's son Baccio Bandinelli and wrote in his ''Vita'' (I, VII) that Michele was simply a collier's son.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Portrait of a Lady Known as Smeralda Brandini」の詳細全文を読む スポンサード リンク
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