Madonna of the Magnificat, 1482 Sandro Botticelli (1445-1510)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Sandro Botticelli also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Madonna of the Magnificat is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

In Botticelli’s "Madonna of the Magnificat," the viewer is invited into an intimate, almost ethereal vision of the Virgin and Child. Set within the gentle embrace of a tondo, the scene has a circular, flowing quality that echoes both the form and thematic unity of this masterpiece. Mary, seated on what appears to be a celestial throne, is surrounded by angels whose youthful faces and elegant curls reflect the idealized beauty so prized in Botticelli’s Florence. They lean inward, focusing their reverence on the Virgin, who, under the guidance of the Christ Child on her lap, writes the words of the "Magnificat" – the ancient hymn of praise and humility. This touch of humility is echoed by the pomegranate that the infant Christ clutches, a somber reminder of his future sacrifice, delicately referenced in the crimson seeds that hint at spilled blood.

Botticelli’s color palette is both subtle and profound, pulling the viewer in with a harmonious blend of warm and cool tones. The Virgin’s robes shimmer with a rich interplay of reds and deep blues, bordered by intricate golden details, creating a balance between majesty and serenity. The artist uses light masterfully here, particularly in the way the golden threads of hair catch the light – each strand glimmering like spun gold, lending an angelic quality to Mary and her attendants. The landscape beyond the window is bathed in a serene, soft daylight, a pastoral contrast to the heavenly splendor of the figures in the foreground. It serves as a reminder of the earthly world, grounding the divine figures in a tangible setting without detracting from their sanctity.

Botticelli’s brushwork here is a marvel of delicacy and restraint. He achieves a soft, almost translucent effect in the fabrics and veils, making them appear as if they’re woven from light itself. Each angel’s face is a testament to the artist’s finesse with detail – they are simultaneously specific and idealized, evoking both the unique and the universal. This focus on refinement extends to the Virgin’s transparent veils and richly ornamented mantle, showing a sophisticated layering of textures that invite prolonged admiration. There’s a rhythm to Botticelli’s strokes, a flowing quality that guides the eye around the composition, never allowing it to settle too long on any one figure.

In its composition, "Madonna of the Magnificat" embodies Renaissance ideals of balance and unity. The circular format encourages a continuous gaze, echoing the infinite, eternal nature of the divine figures within. Yet, it is not only the heavenly that Botticelli captures; there is an unmistakably worldly sophistication here. The angels’ hairstyles and garments reflect contemporary Florentine fashion, suggesting that these divine beings are not wholly removed from the mortal realm. The lack of wings – an artistic choice Botticelli employs elsewhere – gives them a timeless, human quality, blurring the boundaries between sacred and secular.

This tondo’s ambiguity in its original purpose adds an intriguing layer of mystery. Though likely intended for a private home or civic institution rather than a church, its size and complexity suggest it was deeply valued, a treasured image where the divine and the domestic meet in elegant harmony. Botticelli’s "Madonna of the Magnificat" thus remains a mesmerizing study of the sacred and the worldly, rendered with all the grace and sophistication that defined the Florentine Renaissance.