File:Antonio Pollaiuolo (1907) (14784902093).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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
lace in that year, between Giuliano Car-nesecchi and Cassandra Lanfredini.* Antonio^s paint-ing must therefore have been in existence at that date,but considering the greater maturity shown in Pierosshare of the work, than in the Altarpiece of S. Miniato,painted about 1465, it can hardly be placed before that,and we may accept 1467 as about the date of thepainting, as well as of the Cassone copy. It wasoriginally painted on wood but is now transferred tocanvas, and has suffered much from cleaning andrepaint. When bought for the collection the Deianirawas painted completely out, the body of the horse andthe landscape being continued over the figure. Thisover-painting seemed contemporary, and it is suggestedby the compiler of the Catalogue that it may havebeen done by one of the Pollaiuoli, at the time ofSavonarolas attack on the nude. This however seemsimprobable since it is incredible that even a Piagnone * See Herbert Cook, The New Haven Pollaiuolo, BurlingtonMagazine, igo6, p. 53. X
Text Appearing After Image:
00 Cn y. < o , oi J rt o K D ^ t—t (U < :z; b~a J ^ 2<: c C/) oJ 0^ M - ■m E§ 5 o^ o 7 U *c/5 H .i^ y i a m TJ ^c !5 c/i D ^ c/^ c/^ W ;^ Q :z; < C/3 w .J D CJ C^ y a:: EARLY PAINTED WORK 79 could find indecency in this draped figure, which besidesresembles a puppet rather than a human being. Antonios share in the painting is confined to theHercules, and to the beautiful landscape which stretchesaway into the sky with a spaciousness and effect ofdistance even more successful than in the Uffizi panels.It is the finest of his landscapes, one of the truestportraits of Florence and the Arno valley that exists.It shows all the important buildings with the fidelityof a photograph, the Duomo, the Campanile, theBaptistry, Or S. Michele, and the Signoria, can all bediscerned enclosed in the oval curves of the walls. Thelean sinewy figure of Hercules is of the same build asthose in the Uffizi paintings, an

Note About Images