File:Antonio Pollaiuolo (1907) (14762695624).jpg

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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:
ything in common with Verrocchio^s type, the samebombe forehead and square jaw, the same wide-wingednose, round nostrils, and curved mouth, that we find inthe female head in the Malcolm Collection of theBritish Museum, in the drawing of the head of anAngel in the Uffizi, and in the reclining Venus of thesame collection. The figure is constructed also inVerrocchios manner, with broad, flat chest, fine pro-portions, and with his peculiar feeling for bone. Thedraperies are arranged in folds which closely resemblethose of the Christ in the group of Or S. Michele, onwhich it will be remembered he was at work at the samedate as the competition for the Virtues. So much for the superficial resemblances of form andfeature, which might have been imitated by his followers.The fine quality of the drawing can be appreciated onlyin the original. The firm touch, the rounded modellingobtained by the slightest wash, the fine proportions ofthe figure, so different to the long ungainly bodies of XXXII %
Text Appearing After Image:
All II or I FAITH. DRAWING BY ANDREA VERROCCHIO. UFFIZI, FLORENCE Face p. 146 VIRTUES OF THE MERCATANZIA 147 Pieros Virtues, reveal the hand of a Master, and I havelittle hesitation in accepting the drawing as the designof Verrocchio mentioned in the documents.* It is perhaps idle to speculate why the work of sofeeble a painter as Piero should have been chosen beforethat of Verrocchio. We have record of a similar pre-ference in the competition for the Forteguerri Tomb ofPistoja, when the design of Piero was again preferred tohis (see p. 23). On that occasion it was decided by thecommissioners that Pieros model was piu bello et piudegno darte than Verrocchios, yet it is easy to seethat the choice was really based on motives of economy,the price demanded by Verrocchio being more thanthey could afford. It is probable that the same reasoninfluenced the Council of the Mercatanzia, for it isincredible that they should have really considered thedrawing of Piero to be the best. The Temperance

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https://www.flickr.com/photos/internetarchivebookimages/14762695624/

Author Cruttwell, Maud
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Flickr tags
InfoField
  • bookid:antoniopollaiuol00crut
  • bookyear:1907
  • bookdecade:1900
  • bookcentury:1900
  • bookauthor:Cruttwell__Maud
  • booksubject:Pollaiolo__Antonio__1426__1498
  • booksubject:Pollaiolo__Piero__ca__1443_1496
  • bookpublisher:London___Duckworth_and_Co__
  • bookpublisher:_New_York___C__Scribner_s_Sons
  • bookcontributor:Harold_B__Lee_Library
  • booksponsor:Brigham_Young_University
  • bookleafnumber:226
  • bookcollection:americana
Flickr posted date
InfoField
28 July 2014
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