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Antonio Pollaiuolo (1907) (14784916253)
Summary
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:
fluenced him.Mr. Berenson finds analogy between the Adam and thework of the disciples of Domenico Veneziano, and drawsattention to its resemblance to the man leaning on astaff in a similar pose, in Piero dei Franceschis fresco ofthe Death of Adam in Arezzo, and while accepting thedrawings unhesitatingly as the work of Antonio, remarkson their Northern character, which suggests Sluterand the sculptors of Burgundy. This trace of Germaninfluence is not unique in the work of Antonio, for, ashas already been remarked, the females in the Discord^fat and heavily built, suggest the Northern type. The form of Adam is of heavier build than any wehave yet met with in his work. The huge torso andlimbs suggest immense strength, but it is an ox-likestrength, lacking the elastic energy of his usual type. * The drawings were attributed to Signorelli until Morelli firstgave them to Antonio ( Itahan Painters, I. p. 93.) XXVI Alinarl ADAM. DRAWING BY ANTONIO POLLAIUOLO. UFFIZI FLORENCE Face p. 130 XXVII
Text Appearing After Image:
Alinari EVE. DRAWING BY ANTONIO POLLAIUOLO. UFFIZI, FLORENCE Face p. 130 PAINTINGS AND STUDIES 131 The lightness and elasticity of his figures is generallytheir principal quality, and the Adam is, on thecontrary, loosely jointed and ponderous, in this recallingstrongly the figures of Diirer. In construction the Evealso, though less heavily built, reminds one of his femalenude. In the careful finish of the detail, each tendril-like hair of the body being minutely drawn, there isalso a reminiscence of the German schools. This being the case, and Antonios widespreadinfluence being accepted, it may be asked why thedrawings should not be rather ascribed to some Germanimpressed by his style. Yet in spite of the differenceto his other work, they bear too strongly the stamp ofthe Florentine school, for this to be seriously suggested.To what epoch of his career they belong however I findit impossible to decide. That they are no mere studiesis proved by the extreme care with which they arefinis
Early Renaissance or Quattrocento (Italian mille quattrocento, or 1400) refers to the 15th century in Florentine art. Extraordinary wealth was accumulated in Florence among a growing middle and upper class of merchants and bankers. Florence saw itself as a city-state where the freedom of the individual was guaranteed, and where a significant share of residents had the right to participate in the government. In 1400 Florence was engaged in a struggle with the Duke of Milan. Then, between 1408 and 1414 again, by the King of Naples. Both died before they could conquer Florence. In 1425 Florence won the war against Milan. The Florentine interpreted these victories as signs of God's favor and imagined themselves as the "New Rome". In this new optimistic and wealthy environment, Florentine artists immersed themselves in studies of the humanities, architecture, philosophy, theology, mathematics, science, and design. They spurred a rejuvenation of the glories of classical art in line with the humanistic and individualistic tendencies of the contemporary era. Quattrocento was followed by the High Renaissance, North European Renaissance, Mannerism, and Baroque periods. Unlike the previous proto-renaissances, the innovations that emerged in Florence would go on to cause reverberations in Italy and Northern Europe, which continue to influence culture until today.
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