File:Antonio Pollaiuolo (1907) (14578395718).jpg

Identifier: antoniopollaiuol00crut (find matches)
Title: Antonio Pollaiuolo
Year: 1907 (1900s)
Authors: Cruttwell, Maud
Subjects: Pollaiolo, Antonio, 1426?-1498 Pollaiolo, Piero, ca. 1443-1496
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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model. He is as delicately built as a woman, and hasa woman^s slender hands. Neither is there any attemptat realism in the accessories. He stands against aslate-gray wall, or screen, as in many of the portraitfigures of the time, and, but for the sling and the headof the giant, might pass as the portrait of some youngFlorentine noble. And this is probably the case, forthe sensitive face with the pale eyes and melancholyexpression is very individual, and was certainly notchosen as representative of the young David, for whichDonatello had already set the type in Florentine art.Nothing could be more different than this youth and thearrogant striplings of Donatello and Verrocchio. LikeJudith, David was adopted by the Florentines as thesymbolic personage representing the liberty of the * No 928 of the National Gallery. Its provenance is unknown.In 1845 it was in the collection of Mr. W. Coningham, and later inthat of Mr. Wynn Ellis, by whom in 1876 it was bequeathed to theNational Gallery.
Text Appearing After Image:
Graph. Gesellschaft, Berlin DAVID. BY ANTONIO POLLAIUOLO. KAISER FRIEDRICHMUSEUM, BERLIN Face p. 64 EARLY PAINTED WORK 65 Republic, and it is not unlikely that a member of theMedici family may have chosen to be portrayed inthat character. The face resembles strongly theportrait by Botticelli in the Uffizi of a young man in ared cap, who holds between his hands the medal ofCosimo il Vecchio. The features are identical. Inboth paintings we see the same delicate face withprominent cheek bones, the same heavy-lidded pale-gray eyes, the same shock of brown hair growing lowon the broad forehead, the same curved melancholymouth. The likeness is undeniable, but it does notaid in discovering the original, for the portrait ofBotticelli has never been satisfactorily identified. Atone time called the Portrait of a Medallist it nowbears the name of Piero di Lorenzo de Medici, althoughit has no resemblance to his face as portrayed by Bron-zino in the series of Medici portraits. Later criticshave su

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