File:Antonio Pollaiuolo (1907) (14764730172).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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tic tones, and there is so littlesolidity in the modelling that the profile lies on thebackground almost as though cut out of paper. Thatthe official attribution to Piero dei Franceschi is correct,the resemblance in style to his work, especially to theladies of the Queen of Sheba in the Arezzo frescoes,proves, and it is probable that it dates from the sameepoch—between 1452 and 1466. The Milan portraitmust be, judging by the style of the hair, at least adecade later, probably nearer to 1470. It is boldlyand solidly modelled, and in spite of the fact that thebackground is painted against it so thickly as to makea perceptible diffference of surface, the profile standsout with great realism as a third-dimensional object.The intention is decorative, but it seems as thoughthe artists scientific training made him, in spite of hisintention, realistic. His conception of the sitterdiffers equally. While the Berlin portrait presents apoetic and idealised study of a young girl, cold and XXXVII
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Ali77ari PORTRAIT OF THE WIFE OF GIOVANNI DE BARDL BY ANTONIOPOLLAIUOLO. POLDI-PEZZOLI MUSEUM, MILAN Fare /. 178 PORTRAITS BY ANTONIO 179 emotionless as are all Pieros figures, that of Milan isconceived with great realism. It shows a shrewd,practical lady, sharp-witted, perhaps a little handle^and certainly not without passions. That the Milan portrait was executed under theinfluence of that of Berlin seems evident. The sameimportance is given to the outline, and there are manyother superficial likenesses, so obvious that it is need-less to point them out. It is not unlikely, if the sitterswere really sisters, as the likeness of feature suggests,that it may even have been executed as a pendant tothe older portrait. No documentarily-authenticated portraits, male orfemale, by Antonios own hands are in existence, and nolieads painted on so large a scale—the portrait is life-size—by which to judge his style in this branch of art,but by the process of elimination his name seems forcedu

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