Florentine master Sandro Botticelli is the latest Renaissance artist to receive a high-profile exhibition this year -- but this one is a bit different. "<a href="index.php?page=&url=http%3A%2F%2Fwww.vam.ac.uk%2Fcontent%2Fexhibitions%2Fexhibition-botticelli-reimagined%2Fabout-the-exhibition%2F" target="_blank" target="_blank">Botticelli Reimagined</a>" at the Victoria and Albert Museum, London, looks at responses to and reinterpretation of his works, from established artists through to fashion houses.<br /><br /><strong>Pictured: Rebirth of Venus, David LaChapelle, 2009.</strong>
Florentine master Sandro Botticelli is the latest Renaissance artist to receive a high-profile exhibition this year -- but this one is a bit different. "Botticelli Reimagined" at the Victoria and Albert Museum, London, looks at responses to and reinterpretation of his works, from established artists through to fashion houses.

Pictured: Rebirth of Venus, David LaChapelle, 2009.
Copyright David LaChapelle
The Birth of Venus was revived in a typically extravagant Dolce & Gabbana print in the early '90s, worn here on the catwalk by Karen Mulder. Two decades later it would sit on the shoulders of Lady Gaga whilst promoting her album "Artpop" in 2013.
Venus dress, Dolce & Gabbana, 1993 —
The Birth of Venus was revived in a typically extravagant Dolce & Gabbana print in the early '90s, worn here on the catwalk by Karen Mulder. Two decades later it would sit on the shoulders of Lady Gaga whilst promoting her album "Artpop" in 2013.
Photo Volker-H. Schneider/ Caltwalking.com
Giving Chinese characteristics to a Western painting, Yin Xin does what he does best in Venus, after Botticelli. Reducing the image to Venus' head and shoulders, the composition is nonetheless recognizable as that of Bottocelli's goddess, providing a new cultural context to a timeless beauty.
Venus, after Botticelli, Yin Xin, 2008 —
Giving Chinese characteristics to a Western painting, Yin Xin does what he does best in Venus, after Botticelli. Reducing the image to Venus' head and shoulders, the composition is nonetheless recognizable as that of Bottocelli's goddess, providing a new cultural context to a timeless beauty.
Courtesy Duhamel Fine Art, Paris
First exhibited at the Grosvenor and later purchased by fellow artist G.F. Watts, The Renaissance of Venus alludes in its title to the artist's revival of Botticelli's mythical subject.
The Renaissance of Venus, Walter Crane, 1877 —
First exhibited at the Grosvenor and later purchased by fellow artist G.F. Watts, The Renaissance of Venus alludes in its title to the artist's revival of Botticelli's mythical subject.
Copyright Tate London
Botticelli's elaborate composition is in the tondo style, a Florentine format of painting intended for home display. The Victoria and Albert Museum believe this work to be an accurate autograph copy of a lost original.
The Virgin and Child with Two Angels, Sandro Botticelli, c.1490 —
Botticelli's elaborate composition is in the tondo style, a Florentine format of painting intended for home display. The Victoria and Albert Museum believe this work to be an accurate autograph copy of a lost original.
Courtesy Gemaldegalerie der Bildenden Kunste Vienna
Representing the four seasons in four allegorical women, Morris' tapestry starts in winter on the left, ending with spring on the right. Among the bluebells, tulips and daffodils, the figures, reminiscent of the tall elegant women in Botticelli's Primavera, hold a scroll bearing the words of "The Orchard," a poem penned by the artist.
The Orchard, William Morris, 1890 —
Representing the four seasons in four allegorical women, Morris' tapestry starts in winter on the left, ending with spring on the right. Among the bluebells, tulips and daffodils, the figures, reminiscent of the tall elegant women in Botticelli's Primavera, hold a scroll bearing the words of "The Orchard," a poem penned by the artist.
V&A Museum
On loan from the Uffizi, Botticelli's Pallas and the Centaur was discovered in 1895 by William Blundell Spence in one of the ante-rooms of the Palazzo Pitti. Believed to be an allegory for the Pazzi wars, it pictures the moment when half man-half horse is brought under the control of Pallas.
Pallas and the Centaur, Sandro Botticelli, c.1482 —
On loan from the Uffizi, Botticelli's Pallas and the Centaur was discovered in 1895 by William Blundell Spence in one of the ante-rooms of the Palazzo Pitti. Believed to be an allegory for the Pazzi wars, it pictures the moment when half man-half horse is brought under the control of Pallas.
Scala
Once described by Rossetti is "the greenest picture in the world," La Ghirlandata is one of several three-quarter-length paintings by the artist of women making music. Painted at Kelmscott Manor, some believe Morris' eleven-year-old daughter May posed for the angels pictured in the top corners, a similar trope to that seen in Botticelli's workshop tondo Virgin and Child.
La Ghirlandata, Dante Gabriel Rossetti, 1873 —
Once described by Rossetti is "the greenest picture in the world," La Ghirlandata is one of several three-quarter-length paintings by the artist of women making music. Painted at Kelmscott Manor, some believe Morris' eleven-year-old daughter May posed for the angels pictured in the top corners, a similar trope to that seen in Botticelli's workshop tondo Virgin and Child.