File:Antonio Pollaiuolo (1907) (14578401408).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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Text Appearing Before Image:
to Antoniohimself, representing the Hercules of the New Havenpainting. The figure varies little from the original, ofwhich it is obviously a copy. It stands in the sameattitude, drawing the arrow to the head, but it is ill-balanced, the legs are too long, and the feet have nogrip on the ground. Mr. Berenson thinks that Diirersacquaintance with the Hercules was probably derivedfrom this drawing, and if this be so the lack of energyin his figure would be less remarkable. It is to benoticed that in his study for the picture, which exists inthe Ducal Palace, Darmstadt, the figure is far lessPollaiuolesque than in the finished painting. Before leaving the group, attention may be drawn toa little known, but exceedingly powerful sepia study ofa male head in the Santarelli Collection in the Uffizi,which resembles so much the Hercules of the foregoingpictures as to suggest that it was drawn from the same * Not exposed. Ofl&cially attributed to an unknown artist of th^fifteenth century. XI
Text Appearing After Image:
Aliiiari HERCULES SLAYING ANT^US. BRONZE STATUETTE. BY ANTONIOPOLLAIUOLO. MUSEO NAZIONALE, FLORENCE Face p. 8i EARLY PAINTED WORK 8i model. The face is in repose, but in its bony construc-tion and the arrangement of hair and beard, it isexactly similar, while the flattened nose which looks asthough it had been broken, suggests that it was anatelier study from the life. The connection of thedrawing with Antonio is due to Mr. Berenson, whohowever, considers it to be merely a copy. To me itseems to have the quality of his own work. Theface is admirably modelled with his peculiar feelingfor bone, and the touch has energy and decision. In sculpture, out of the numerous statuettes and reliefsof the Hercules subject attributed to Antonio, butthree can be accepted as genuine. These are the smallbronze group of the Combat with Antoeus^ (Plate XL)and the two reliefs on the breastplate of the YoungWarrior, both in the Museo Nazionale, Florence.Statuette and bust are evidently early work. Theform

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