File:Antonio Pollaiuolo (1907) (14578418679).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:
icturepainted with the head of the Duke Ghaleazo, by thehand of Piero del Pollaiuolo ; ^ and again in the Inven-tory of 1553: A portrait on panel of a Duke ofMilan, with gilded decoration and a doublet coveredwith golden lilies. * In the darkest part of the Corridor leading from theUffizi to the Pitti, among the Portraits of IllustriousPersonages painted for Cosimo I., is a portrait similarin all respects to that of Piero, except that the handholding the glove is omitted. It is inscribed galeacivsM. SFORTIA MED : Dvx. Most of the portraits in thiscollection were copied by Cristofano Papi, calledL^Altissimo, from earlier paintings, chiefly by cele-brated artists. Rossi, in his article on Pieros portrait, * Nella chamera grande terrena detta Chamera di Lorenzo . .un quadro dipintovi la testa del Duca Ghaleazo di mano di Pierodel Pollaiuolo, f. 10. ** Un ritratto in tavola dun duca di Milano con ornamento doratoet vesta pienadigiglidorati (Muntz, Les Collections des Medicis,p. 60). XXXIX
Text Appearing After Image:
Alinari GALEAZZO SFORZA. BY PIERO POLLAIUOLO. UFFIZI. FLORENCE Face p. 182 PIEROS LATEST WORK 183 suggests that both paintings were copied from a lostoriginal by a Lombard painter,* a suggestion whichseems very probable, for the character of the work isLombard rather than Florentine. Both have, more-over, the stiff, conventional look of copied work.f Itis possible that the original may have been presentedby Galeazzo to Lorenzo on the occasion of his visit toFlorence in 1471, and that Piero copied it some yearslater, for the painting belongs to his best and mostmature period. The modelling is still faulty and thebone ill-suggested, the eyes have the rounded lids ofthe Virtues, the features are coarse and at the sametime insignificant, but it has neither the puiFy model-ling of his earlier work, nor the puppet-like imbecilityof expression. The portrait is in a very dilapidatedcondition, having been apparently cleaned with somecorrosive which has exposed the underpaint, and mostunskilful

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