Why for several hundred years Botticelli was called old-fashioned

An exhibition currently on display at the Palace of the Grand Dukes of Lithuania, "Italian Renaissance from Wawel: Botticelli, Tiziano", showcases paintings by some of the most renowned Renaissance masters. However, exhibition curator Ignas Račickas notes that even these global geniuses faced a difficult path to recognition.

As someone deeply interested in the history of the exhibited Renaissance paintings and the entire era, the curator has agreed to share some of the most fascinating stories about the challenges artists had to overcome at the time. What changes were taking place in Italy? How did art spread in Lithuania? What motivated rulers to start collecting artworks?

"Rulers played a key role in shaping cultural and artistic taste, setting trends. This is clearly seen in the history of the Grand Duchy of Lithuania and the Kingdom of Poland. When Sigismund the Old initiated the renovation of Wawel Castle in Kraków, he ordered the palace to be rebuilt in the Renaissance architectural style. This made it one of the first Renaissance buildings in the region," explains I. Račickas.

"Soon, this style began to spread rapidly in our region. The Renaissance was different, unprecedented, and unique, yet there was no debate about whether people liked it or not. Nobles, too, wanted to keep up with the ruler."

"Until the late 19th century, nearly all artworks were created on commission. There were no pensions or sickness benefits at the time, so securing commissions was a matter of survival," says I. Račickas about Renaissance-era artists. "Five hundred years ago, an artist’s most significant mark of recognition came from their works displayed in public spaces—churches, palaces, and town halls. For example, Sandro Botticelli only managed to break into the ranks of the greats thanks to public exposure. Between 1460 and 1469, he spent nine years training under Fra Filippo Lippi, who was working in Prato and Spoleto at the time. When the young painter returned home to Florence, he had to find ways to present himself to potential patrons."

It so happened that a competition was being held for a commission to paint frescoes in Florence’s Palazzo Vecchio. Botticelli sought the contract but did not win. However, the artist originally awarded the commission, Piero del Pollaiolo, took over six months to complete just one fresco, Allegory of Generosity. Seeing this delay, the patrons gave Botticelli a chance to prove himself. He painted Fortitude, a fresco that, when compared to Pollaiolo’s work, revealed an undeniable difference in skill—Botticelli’s talent outshone his competitor’s. His work became an instant hit, leading to a flood of commissions and his entry into the Medici court.

Botticelli’s influence quickly spread, inspiring other Florentine artists of the time. A silver and crystal cross currently on display at the Palace of the Grand Dukes of Lithuania bears angelic engravings done in Botticelli’s signature elongated facial style.

All the artists whose works are currently exhibited in "Italian Renaissance from Wawel: Botticelli, Tiziano", an exhibition organized in collaboration with the Wawel Royal Castle – State Art Collections, created works for public spaces. Among them, Tizian and Paris Bordone were particularly versatile. Meanwhile, Palma il Giovane (Palma the Younger) was best known for his religious compositions, painted for churches and monasteries.

Today, identifying the original patrons of Renaissance paintings is a difficult task, making each artwork a historical puzzle. One such mystery at the exhibition is Madonna and Child with Saint John the Baptist and Saint Cecilia, a painting from Tizian’s workshop.

"We can guess that the patron requested the depiction of saints important to their family. The composition is typical, but the scene is historically inconsistent. John the Baptist and Jesus should be the same age, yet John is portrayed as a grown man. Saint Cecilia, on the other hand, lived in the third century," says I. Račickas with a smile. "This isn’t a biblical scene but rather a reflection of the patron’s specific request. Perhaps it was a portrait of a family with members named John and Cecilia. Such narrative liberties were common in private commissions."

Florence and Venice are only 260 kilometers apart, yet in the Renaissance, artistic exchange between them was slow. "Artists rarely traveled beyond their city for inspiration or training unless they were specifically invited to work elsewhere. For example, Botticelli painted the Sistine Chapel in Rome at the pope’s invitation," explains I. Račickas. "Among the artists featured in our exhibition, Palma il Giovane was one of the few who looked beyond his native Venetian school and took interest in the Roman school of painting."

One consequence of this artistic isolation was the development of deeply rooted artistic traditions within individual cities. Apprentices not only learned how to paint but also acquired practical skills such as mixing pigments, grinding colors, and even making their own brushes. These technical methods remained relatively unchanged for long periods. Additionally, the first three years of an artist’s education were typically paid for by their parents, making it financially easier to keep children studying close to home.

The tradition of art collecting in Lithuania is often associated with Grand Duke Sigismund the Old, but his brother, Alexander Jagiellon, was also knowledgeable about collecting. "It was under Alexander’s initiative that St. Anne’s Church was built in Vilnius," says I. Račickas. "Most art pieces were found in churches. In the early 16th century, for example, Mikołaj Radziwiłł commissioned a silver votive relief depicting the Siege of Smolensk. There were also earlier Gothic works, illuminated manuscripts, and other treasures. However, it was during the Renaissance, as Lithuania became more engaged in European culture, that art collecting truly flourished."

By the early 16th century, studying at Italian universities and pilgrimages to Rome had become common among Lithuanian nobility. On these journeys, rulers and wealthy nobles would acquire paintings directly from artists’ workshops. Although limited records exist about the Grand Duchy of Lithuania’s art collections, it is known that Sigismund the Old was fascinated by Renaissance architecture and sculpture. He commissioned over ninety tapestries in Bruges. Sigismund Augustus expanded this collection, acquiring more tapestries, ornate armor, Oriental rugs, and a treasury of jewels.

"Among the paintings known to have been in the royal collection were portraits of Jagiellonian rulers by Lucas Cranach and works by Venetian painters. Nobles also had artworks by Tizian’s students. At one time, Kaunas Cathedral housed a painting by Giovanni Bellini, Tizian’s teacher, though it vanished after the war."

"For example, in our exhibition, Paris Bordone’s Diana and Callisto is displayed. Art historians speculate that it was originally one of three paintings designed to adorn wedding chests. During the Renaissance, diplomatic gifts often included paintings, making it possible that some artworks in Lithuania arrived through such exchanges."

It may seem shocking to today’s art lovers, but after Tizian’s death, his works remained highly valued, while Botticelli was dismissed as outdated for centuries. "Botticelli painted in a style that blended Gothic and early Renaissance elements, which was already considered outdated in the 16th century. Moreover, after falling out of favor with the powerful Medici family, he essentially vanished from artistic prominence until the 19th century," explains I. Račickas.