File:Antonio Pollaiuolo (1907) (14742034446).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:
aron Garriod and in 1865 to theTurin Gallery. The only objection raised against theidentification of the picture with that mentioned byVasari, is that he states it to have been painted oncanvas, whereas the Turin painting is on panel,f butthe objection is of little weight and there seems nodoubt but that it is the work which once decorated thepilaster in Or S. Michele. Like the Three Saints ofS. Miniato, the work shows the design of Antonio andthe execution of both brothers, though Antoniosshare in the actual brushwork is less. As usual thefigures are placed upon a prominence, which by con-cealing the middle distance, adds to the impression of * ** Dipinsero ancora in S. Michele in Orto, in un pilastro in telaa olio un Angelo Raffaello con Tobia. Vasari, III. p. 291. t A close examination of the surface reveals however in certainlights rectangular lines as of the fine texture of linen beneath thepaint, as though the canvas had been stretched upon a woodenbackground for protection. XIV
Text Appearing After Image:
Alinari THE JOURNEY OF TOBIAS. BY ANTONIO AND PIERO POLLAIUOLO. CALLERIA REALE, TURIN Face p. 94 PAINTINGS WITH PIERO 95 their size. The seizure of the transitory action is verycharacteristic. So illusive is the impression of the swiftmovement of the two figures, as to partake of thenature of a tour deforce. They seem to walk so rapidlyacross the panel that one is conscious of the un-obstructed landscape when they shall have passedbeyond. Were the actual execution equal to thegrand conception, we should have in the Archangel oneof the noblest figures of quattrocento art. The stronglybuilt athletic frame, clad in the amethyst velvet robes,with large wings that seem to cut the air, has greatdistinction and beauty. The square-shaped head is ofthe same construction as that of S. James, but the poormodelling and vacuous expression betray the hand ofPiero in the execution. The robes have the straightangular folds of Antonio but suggest little solidity inthe form beneath. The best painted pa

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