File:Antonio Pollaiuolo (1907) (14784928443).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:
overcrowded. Above, weighing heavilyon the figures below, are Christ and the Virgin, andbeneath the patron Saints of the city and church—tothe right SS. Jerome, Gimignano and Niccolo daTolentino, to the left SS. Agostino, Niccold di Bari,and Santa Fina. The last is the only figure whichretains something of the puffy modelling of his earlierwork, the rest, particularly the Virgin and Christ, areas meagre and bony as skeletons. At the age of fortyPiero has at last mastered the anatomy of the humanframe, and as though proud of his knowledge, undulyaccentuates the bone. The faces are no longer un-modelled lumps of flesh without expression, but show,especially those of Christ and St. Jerome, a knowledgeof the skull, and they have all a certain gravity and * The same (called II Dottor Parigino from the fame of histheological teaching in the Paris University) who, in 1464commissioned Benozzo Gozzoli to paint the frescoes of the life ofS. Agostino in the Choir Chapel of the same Church. XL
Text Appearing After Image:
A lina7i CORONATION OF THE VIRGIN. BY PIERO POLLAIUOLOCOLLEGIATA, S. GIMIGNANO Face 184 PIEROS LATEST WORK 185 concentration. It is evident that he has tried toimitate Antonios forms, the knotted joints and sinewylimbs, but the power of presenting life is as far beyondhis reach as ever. The figures have weight and sub-stance and are less puppet-like than formerly, but theyare still as lifeless as logs. With the construction of the greater part of thefigures no fault can be found, but his old lack of thesense of proportion is visible in the exaggerated heightof the Virgin. Were she to rise she would be at leastten feet high. In spite of technical improvement fewpictures are more completely uninteresting, or revealmore clearly the hopeless mediocrity of the artist. Inhis desire to correct the puffy modelling of his earlierwork, Piero has fallen from one fault to another, fornothing could be uglier than the gaunt Virgin with hersour expression, or less attractive than the meagreSaints. T

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