Antonio Pollaiuolo (1907) (14764731852)

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



Text Appearing Before Image:
, painted andpowdered, than a quattrocento Florentine. Only a veryclose examination reveals the excellence of such parts ofthe original work as have escaped the brush of therepainter. Repaint nearly the whole of the picture is,from the crude blue of the background to the heavilystippled red of the cheek, which suggests the rouge pot.Hair and flesh are thickly over-painted, the outline ofthe face, perhaps once as delicate as that of the Milanportrait, has been lost in the smearing of the back-ground against it. The nose especially has been coars-ened and modernised. The ribbons which bind thehair have been edged with different colour like those ofthe Milan head, but are completely retouched. Thestrings of pearls which bind the hair are glassy andobviously modern. Only in the throat and neck, therepaint, being less thick, allows the original lines toappear, and these lines are similar to those in the Milanportrait. Such parts of the ear as are visible are alsoprecisely the same. XXXVIII
Text Appearing After Image:
Alinar\ PORTRAIT OF LADY. BY ANTONIO POLLAIUOLO (REPAINTED) UFFIZI, FLORENCE Face p. 180 PORTRAITS BY ANTONIO i8i It is strange that while the face and hair havebeen thus daubed over, the sleeve and bodice are un-touched, and in an excellent state of preservation.Here the beautiful, carefully painted embroidery of thesleeve and the deep amethyst-coloured velvet haveeverything in common with Antonios work. It is per-haps idle to speculate, yet the perfect preservation ofthe lower part of the painting, generally subject to mostdamage, and the eighteenth-century character of thehead in its present state, suggest that the repaintingmay be due, not to any damage suffered by theoriginal work, but to the effort to adapt the portrait toanother sitter. The neglect—almost contempt—withwhich quattrocento work was regarded in the eighteenthcentury is well known, and it is at least possible thatthe portrait, which seems to have been always in theMedici Collection, may have been tampered with b