File:Antonio Pollaiuolo (1907) (14784921213).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:
he Anonimo are correct,this work would be earlier than the Pucci Altarpiece byat least two years. Signorelli, strongly influenced as he was throughouthis life by Antonio, has imitated the painting in hisAltarpiece, executed in 1496 for the Church ofS. Domenico, Citta di Castello, now in the Pinacoteca.The weak saint of Piero he has ignored, his figurestanding upright and firmly balanced on the tree, butthe composition, and particularly the two soldiersstringing their bows in the foreground, are obviouslyinspired by Antonio. Among the less important paintings of the subjectbearing marks of Antonio*s influence, is the life-sizedS, Sebastian by Jacopo di Barbari, No. 384 of the PittiGallery, still unaccountably attributed to Antonio him-self. It is a nude of Antonios athletic type, and isconstructed somewhat in his manner, with hugeshoulders, bent legs, and hard developed bone andmuscle, but the resemblance is superficial only, and,cannot have been inspired by the Pucci Altarpiece. XXXIV
Text Appearing After Image:
H. Burl on COMMUNION OF S. MARY OF EGYPT. BY ANTONIO POLLAIUOLOPIEVE, STAGGIA, NEAR POGGIBONSI Face p. 160 THE PUCCI ALTARPIECE i6i Perhaps somewhat earlier than the S. Sebastian maybe placed the Altarpiece representing the Communionof S. Mary of Egypt, recently discovered in the Churchof Staggia, near Poggibonsi. (Plate XXXIV.) Thepicture was originally brought to notice by Mr.Mason Perkins, who however attributed it to Botticini.Mr. Berenson* first gave it to its true author, AntonioPollaiuolo, but he allows him the design only, and con-siders the execution to be by Piero. To me the paintingseems to be not only designed by Antonio, but executed,at least in the greater part, by his own hand. The Saint has just issued from her rock-cave, andsupported by Angels, who surround her in the form ofa mandorla^ receives the wafer of the Sacrament. Thecomposition is fine and impressive. The large figure istreated with the utmost realism, the nude limbs beingthose of an elderly woman somewhat w

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