File:Antonio Pollaiuolo (1907) (14742067836).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:
des, the figure beingrelieved against a dark background of sepia wash. Thehorse is inferior in energy to the rider, whose gesture issuperb. As a portrait it is excellent, if one may judgeby its resemblance to the medal by Pisanello struck in1441. There is strong reminiscence of CastagnosTolentino in the general conception and the attitudeof the rider, but in build the horse recalls rather thoseof Paolo Uccello. In effect the group is noble andmajestic, but it is easy to see that Antonio had studiedequine less than human anatomy. The hind quartersare poorly constructed, and the legs too short, whilethe action is spiritless and even clumsy. The finest * Leonardo began the statue and put it aside for some years.He recommenced it in 1490, as we learn from his own words, * Adi 23 daprile 1490 . . . ricominciai il Cavallo (see Richter,•• Leonardo da Vinci/ ii. p. 14.) The statue was never cast and themodel was destroyed by the French in 1500. t Morelli, *Italian Painters, ii. p. ti6. LI
Text Appearing After Image:
Bruckmami, Mu7iich STUDY FOR EQUESTRIAN STATUE TO FRANCESCO SFORZA. DRAWINGBY ANTONIO POLLAIUOLO. MUNICH PRINT ROOM Face p. 212 DRAWINGS NOT MENTIONED 213 part is the head, which somewhat resembles th^ colossalantique bronze, formerly in the Medici Collection, nowin the Museo Archeologico, Florence, a work whichinfluenced both Donatello and Verrocchio in theirequestrian statues. The drawing is in bad condition,the sheet being much torn, but the pen-strokes stillretain their original delicacy and energy. In the Collection of Lord Pembroke, Wilton House,is a pen-study of a horse, which may possibly havesome connection with the Sforza Monument. It is amere outline in profile, with indications for measure-ments and proportions in Antonios own handwriting.In the Collection it is given to Verrocchio, and itsattribution to Antonio is due to Mr. Berenson. Thecorrectness of this attribution is proved, not only by thehandwriting, but by the characteristic quality of theline, sensitive yet firm,

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