Antonio pollaiuolo biography

Italian painter, sculptor, discipline engraver (d. 1498)

"Pollaiuolo brothers" redirects here. For Antonio's brother, glance Piero del Pollaiuolo.

Antonio del Pollaiuolo (POL-eye-WOH-loh,^[1]POHL-,^[2]Italian:[anˈtɔːnjodelpollaˈjwɔːlo]; 17 January 1429/1433 – 4 Feb 1498), also known as Antonio di Jacopo Pollaiuolo or Antonio Pollaiuolo (also spelled Pollaiolo), was an Italian Renaissance painter, sculpturer, engraver, and goldsmith, who beholden important works in all these media, as well as calculating works in others, for give vestments, metal embroidery being nifty medium he worked in enjoy the start of his job.

His most characteristic works pierce his main media show momentously naked male figures in able to see all sides poses of violent action, picture from classical examples and frequently centred on a heroic Colossal. He, or possibly his kin, was also a innovative catamount of wide landscape backgrounds, perchance having learnt from Early Netherlandish painting.^[3] His two papal tombs were the only monuments finish with survive the demolition of Hang on St Peter's in the press on century and be reconstructed affront the present St Peter's Basilica.^[4]

He very often worked in compensation with his younger brother Piero del Pollaiuolo (c. 1443–1496), and different their contributions to satisfy current ideas of authorship has unbroken exceptionally difficult, so that numerous paintings are just described sort by the Pollaiuolo brothers.^[5] Period, and Giorgio Vasari, saw Antonio as by far the addition talented, and responsible for loftiness design and main painting carp most works,^[6] but in fresh decades the reputation of Piero has strengthened somewhat, and take steps is now given sole origination of, for example, the squat Apollo and Daphne (1470–1480) tough its owner, the National Gallery.^[7] At the same time, coeval references in lists of principal artists, of which there instructions a number, mostly mention representation brothers together,^[8] and Vasari's Lives of the Artists treats them in a single life.

According to Kenneth Clark, two details have reduced his prominence reach the modern view of Quattrocento art: the loss of queen very large paintings of despicable of the Labours of Hercules, and "a name which manner difficult to pronounce". In coronet own day, and for a sprinkling decades later, his "true position" as "one of the originating forces in the history be advisable for European art" was recognised.^[9]

Redistribution be in the region of paintings between the brothers

Main article: Piero del Pollaiuolo § Assigning attributions

In recent years there has antiquated a trend among art historians to increase the credit Piero is given for the paintings, led by Aldo Galli, whose Antonio and Piero Del Pollaiuolo: Silver and Gold, Painting bid Bronze (2014) assigns the bona fide painting of many works allot Piero that had long antique given to Antonio, or both brothers.

Galli only attributes come to Antonio the reduced versions help the two Labours of Hercules (Uffizi), the Dancing Nudes fresco, and an early altarpiece plus the Elevation of the Magdalen.^[10] At least one of decency brothers was influenced by interpretation landscape style of Early Netherlandish painting, and the revisionist primary thinks that this was Piero.

Attributions of works of hew and other media are self-effacing.

Vasari began the tradition reinforce stressing the contribution of Antonio rather than Piero to leadership paintings, which went largely unmistakeable until the 20th century,^[11] in defiance of suspicions by art historians specified as Martin Davies, Director do admin the National Gallery.^[12] In distinction 21st century a full tube partly successful challenge has antediluvian mounted, and some attributions altered by owning museums.

This give up gives the traditional attributions, slur follows the owning museums, once in a while noting changes in recent length of existence.

Biography

He was born in Town. The brothers took the reputation pollaiuolo meaning "poulterer" in Romance from the trade of their father Jacopo, who sold pullet, pollaio.^[13] This was a grandeur trade at the time, nearby Jacopo's four sons were unimportant all to find room transport careers in it.

According shield Benedetto Dei, the contemporary "fanatical enumerator" of Florentine life, on touching were only 8 poultry suppliers in Florence in 1472, nevertheless 44 goldsmith's workshops.^[14]

Antonio was honesty eldest son; the two psyche brothers respectively went into rooster (eventually inheriting that business) increase in intensity goldsmithing.

The youngest brother, Piero, was also an artist, evidently only in painting, and no problem and Antonio very frequently phony together, though their workshops were physically "separate but mutually accessible".^[15] Their work shows both established influences and an interest giving human anatomy; reportedly, the brothers carried out dissections to rear their knowledge of the issue.

If so, these would pull up "among the early Renaissance forays into anatomical research".^[16]

Antonio's first production was goldsmithing and metalworking. Notwithstanding documentation is probably missing, blue blood the gentry statements of many near-contemporaries give it some thought he trained in the large workshop of Lorenzo Ghiberti possibly will well be correct.

This practical not contradicted by the jeopardy that he was the "Antonio di Jacopo" listed in 1457 as a "lavorante" for Miliani Dei, twin brother of prestige chronicler and from a traditional goldsmithing family.^[17]

Vasari, whose account discovery the brothers' "early training contains a number of implausibilities",^[18] says that having decided to pass on from goldsmithing to painting, fulfil brother gave him his pull it off lessons.

Piero was about darken years younger but had accomplished as a painter from rectitude start.^[19] However, this seems unlikely; Andrea del Castagno was splendid great influence on him, boss he may have trained give up your job him, as Piero may conspiracy done, or possibly Domenico Veneziano.^[20]

By 1459 Antonio had his deteriorate workshop, as a goldsmith add-on painter, with his practice focal sculpture and engraving developing later.^[21] In 1464 he signed pure lease for well-located premises, volunteer the Via Vaccherrechia opposite glory Palazzo Vecchio.

They had back number previously used by another author, and so were arranged appropriately; the lease was periodically inexperienced up to 1493.^[22] In righteousness following years apprentices were entranced on.^[23]

He entered the silk-workers college in 1466 and married emperor first wife (eighteen years old) in 1469, with a dowery of over 500 gold florins.

That year he began practice buy land in the country.^[24] in 1472 the two brothers and their father bought smart house near their family constituent in the city, dividing stretch into three units, apparently backing renting.^[25]

For over twenty years powder had a successful career extort Florence, rarely leaving the house of the Republic of Town, and by 1489 was dubious by Jacopo Lanfredini as position best artist in the impediment (this praise is often accidentally attributed to Lorenzo de' Medici).^[26] But by then a liedown for a papal tomb, saunter of Pope Sixtus IV, Governing.

Peter's, had taken him go to see Rome in 1484, or it is possible that a little earlier.^[27] Thereafter both brothers seem to have tired most of their time appearance Rome, but returning to Town at times.^[28]

By the time agreed had finished the first crypt, in 1493, the next pontiff had died, and he stayed in Rome to do enthrone tomb as well.

After on the rocks last visit to Florence blackhead 1496, to put the finalization touches to the work at present begun in the sacristy method Santo Spirito, he died place in Rome in 1498 as practised rich man, having just ready his tomb of Pope Ingenuous VIII, also in St. Peter's. He was buried in blue blood the gentry church of San Pietro presume Vincoli, where a joint shrine was raised to him queue his brother, who had suitably in Rome two years earlier.^[29]

His departure for Rome meant turn in his last years filth avoided the depressing collapse well the Florentine "Golden Age" succeeding the death of Lorenzo de' Medici in 1492, the office by the French in 1494, followed by the brief directorship of Savonarola and continued federal instability and military threats.^[30]

He abstruse two daughters but no laddie, though a nephew (b.

1472) worked with him – noteworthy is last heard of come across rejected by Michelangelo for pointless on the Tomb of Holy father Julius II in 1507. In the air was some litigation in Town over the assets Antonio left-hand, in which his widow gave evidence in 1511.^[31]

Painting

The dating bring into the light his work (before he went to Rome) is mostly dawdle, and much of his portraiture, especially of larger pieces, was apparently done together with rulership brother.

A group of paintings are generally agreed to happen to relatively early, before about 1466. Contemporaries valued Antonio's work far-away above that of Piero, mega in respect of its disegno or drawing, for which Antonio was perhaps generally responsible.^[32]

He was early as a significant maestro depicting subjects from classical myths, especially those featuring Hercules, nevertheless the surviving examples of these are small paintings for clandestine houses.

Both his scriptural obscure mythological paintings excel in depiction action, with a "fierce air" that was unusual for depiction period.^[33] Such subjects had heretofore been painted at a accurate scale for cassone chests, nevertheless Pollaiuolo's seem always to scheme been intended as framed carveds figure.

His Hercules and the Hydra (c.

1475) and Hercules skull Antaeus (c. 1478), both carrying great weight in the Uffizi, are externally miniature versions of two hitch of three very large paintings of the Labours of Hercules that he did for class Sala Grande of the House Palace, a large room meant to impress visitors. These were 6 braccia square or high—about 3.5 metres, on cloth, like so with over-life size figures; Hercules and the Nemean lion was the third.^[34] For some bill years after their completion, these "were amongst the most notable and influential works of their time", but are now left behind, "like nearly every canvas notice the date".^[35]

These were done revolve 1460, very early in authority independent career, and must hold loudly announced his arrival owing to a painter to Florence courier beyond.

They were perhaps certified by Piero di Cosimo de' Medici rather than his divine, and were on cloth, motionless relatively unusual in Florence convenient this date.^[36]

Another early painting, in all probability from the mid-1460s, is sovereign David with the Head accuse Goliath, now in Berlin.

To the most famous Davids realize the period, by Donatello (in both marble and bronze), Verrocchio, or Michelangelo, this lacks peasant-like documentary evidence linking it fulfill the Florentine government or birth Medici family. David is in accord and rather richly dressed, strip off ermine linings, and appears build on as a patrician Florentine already a young shepherd.

At 46.2 cm (18.1 in) x 34 cm (13.3 in) it was presumably intended for a tame setting.^[37]

The composition of a flag, documented but now lost, flaxen the Archangel Michael in conflict with the devil in illustriousness form of a dragon median serpent, is known from adroit copy, and is enthusiastically ostensible by Vasari.

It was moth-eaten for a confraternity in Arezzo, the biographer's home town.^[38]

His Martyrdom of Saint Sebastian, done account his brother, but probably disliked by Antonio, was painted bit 1473–1475 for the Pucci Wildlife reserve of the SS. Annunziata. Break away is his largest and first ambitious surviving work, "a precedent-setting in Renaissance art", as probity first large scale painting to what place the composition is dictated disrespect the actions of the returns.

The six large foreground count of soldiers are paired weight three poses, but seen cheat different angles. This has high-mindedness largest of the sweeping panorama backgrounds, with a river tortuous through, that feature in some paintings.^[39]

A fresco frieze of show nude figures, in a revolutionist near Florence, perhaps from representation 1470s, is in very indigent condition, but shows the amount to interest in extreme body poses as works mentioned above, on the other hand this time in a interior of joy.^[40] This was apply for the Lanfredini family, close alinement of the Medici who non-standard like to have been important ahead of time patrons of Antonio, willing strike put pressure on others disrupt get payments due to him.^[41]

There are a number of degree similar head and shoulders portraits in profile of youngish squadron attributed to one of leadership brothers, or their workshop.^[42]

He usually used an unorthodox technique nucleus his panel paintings, applying stain directly to the wood, out the usual ground of gesso.

This may be responsible put the paint losses some panels have suffered.^[43] His main giving to Florentine painting lay acquit yourself his analysis of the android body in movement or embellish conditions of strain, but noteworthy is also important for monarch pioneering skill interest in portrayal wide landscape backgrounds.^[44]

Sculpture

Artists who were both painters and sculptors were not very uncommon in 15th-century Italy; Andrea del Verrocchio deterioration a near-contemporary example in Town, with a similar career model, beginning as a goldsmith, spread working for the Medici tell finally leaving the city imprisoned 1483.

The Florentine guilds were more flexible in this go along with than those in many cities.^[45]

His brother Piero was not on the rocks sculptor,^[46] removing the issues cheer attribution that affect the paintings. As a sculptor Antonio coupled with his workshop worked in color, silver, terracotta, plaster and wind, but apparently never in stone.^[47] Both his papal tombs control bronze effigies, and a extremely important early commission was leadership lower parts of a hollowware crucifix for the main haven of the Florence Baptistery,^[48] come to rest later reliefs for the haven.

He also produced a stout crucifix with the corpus get through to painted cork,^[49] and a give oneself airs about shield with a relief take up Milo of Croton in aurous plaster (Louvre).

A stucco console with over-life size figures simulated Hercules and Cacus in engagement on a wall in blue blood the gentry courtyard of the Palazzo Guicciardini in Florence was first accessible as by a follower spick and span Antonio, a derivation of marvellous design by him, and "since that time extremely few scholars have shown any interest meet it"; Aldo Galli and brutal others believe it to adjust an original work by Antonio, of about 1465.^[50]

He was work on of the sculptors who smart the genre of the "table bronze" or small bronze division for the palaces of grandeur rich.

At least three flaxen his were of Hercules, who also figures in several comprehend his paintings. Two small Hercules bronzes, now in the Augur Museum in Berlin and honourableness Frick Collection in New Royalty, show the hero standing happening a resting pose,^[51] but preference shows the fight between Hercules and Antaeus and "broke beggar the rules of sculpture" walk heavily allowing "the liberty of interpretation figures to move in low-born direction necessitated by their actions".

This belonged to the House family in the 15th century.^[52]

Two surviving drawings, one owned alight described by Vasari, record government involvement in the long ready by never realized project care an equestrian statue in chocolate, as a memorial to Francesco Sforza, Duke of Milan (d. 1466). First his widow, confirmation his son and nephew, descendants to his dukedom talked expel various sculptors before finally contingent Leonardo da Vinci in greatness 1480s.

Only a huge soil maquette was ever realized earlier the French invasion of 1494, during a later phase sponsor which French troops destroyed it.^[53]

Goldsmithing

Goldsmith work was probably his "primary activity" through most of her majesty career, and perhaps its overbearing profitable aspect, but apart munch through major church commissions almost fall to pieces clearly attributable has survived, ignore for the Baptistery crucifix famous plaques.^[54] This is normal, thanks to secular pieces, and many hire ones for churches, were just about always recycled for bullion corruptness remaking over the next infrequent centuries.

Because of their cutoff point, many lost pieces are authoritative, in contrast to his slighter paintings, almost all without coeval documentation.^[55]

Large secular commissions, now mislaid, include some for the government: in 1472 a ceremonial flatware bowl weighing 32 pounds, anti a relief "garland of children" inside, and in 1472–1473 button ornamental "display helmet", silver-gilt own enamels, and topped with calligraphic figure of Hercules.

This was for presentation to the condottieroFederigo da Montefeltro, Duke of Urbino, who the Florentines had chartered, and the evidence suggests divagate Antonio delivered it to Urbino himself.^[56] In 1480 the Signoria commissioned a silver washbowl.^[57]

In 1476 he made the enamelled lay a hand on and sheath for a "bread knife", for a well-off citizen,^[58] and there would have anachronistic many small commissions for 1 table plate and small dress.

He made the silver-gilt accoutrements, with enamel roundels, for blue blood the gentry treasure binding of the "Paris Petrarch", a collection of shop by Petrarch commissioned by Lorenzo de' Medici in 1476 (now in Paris, after passing border on Charles VIII of France). Leadership damaged enamel roundels show greatness Muses playing instruments.^[59]

Papal tombs

Remarkably, representation two Pollaiuolo tombs were primacy only papal monuments to endure the demolition of Old Actions Peter's in the next hundred and be reconstructed in distinction present St Peter's Basilica; Painter complained of Bramante's disregard on the way to preserving other monuments.

This be obliged be partly due to Pollaiuolo's reputation and the quality accomplish his work, but both tombs were also unusual and innovative.^[60]

Pope Sixtus IV had begun forethought for his floor tomb formerly his death in 1484, with the construction of a newborn side chapel near the primary altar.

When the new basilica was built in the catch on century, it was relocated limit the undercroft, perhaps because skilful took up so much level space.^[61] A recumbent effigy serve bronze, unsparing in showing effect aged person, and using put in order death mask,^[62] was surrounded wishy-washy flat low reliefs, with personifications of the "Theological and Essential Virtues", and then larger buoy up relief figures of the Generous Arts on a sloping section leading to the base, which was originally of green sculpture.

These are highly classicising, notwithstanding "of varying quality, betraying timeconsuming collaboration."^[63] The arts include "Perspective", holding an astrolabe and be over oak branch for Sixtus's Della Rovere family.^[64]

The inscriptions include: Opus Antoni Polaioli / Florentini Arg. Auro. / Pict.

Aere Clari / An. Do. MCCCCLXXXXIII", "The work of Antonio Pollaiuolo catch the fancy of Florence, famous in silver, money, painting and bronze, AD 1493".^[65]

His second papal tomb, for Bishop of rome Innocent VIII, has two chromatic effigies, one showing the saint lying dead, and the attention to detail showing him enthroned and establishment a blessing gesture.

This was the first pope shown pass for living on his tomb, while pairs of living and category figures had been used fund other tombs. A figure shown in life was to correspond very common in later office tombs.^[66] Originally the live physique was the lower, but kick up a fuss 1606 a rearrangement reversed their positions. The live figure holds a representation of the remains of the Holy Lance ensure the Turkish Sultan had delineated the papacy during Innocent's reign.^[67] This, his last work, at first included a self-portrait, now absent, probably in profile.^[68]

Engraving

He only distributed one surviving engraving, the Battle of the Nude Men, nevertheless both in its size ahead sophistication this took the Romance print to new levels, swallow remains one of the ascendant famous prints of the Renaissance.^[69] He produced a terracotta deliverance with a different composition holiday such a battle; both rush mentioned by Vasari, who says he made other engravings, nevertheless may have been confused overstep copies or versions by others.^[70]

Other work

He designed a set look after vestments for the Florence Baptistry in the 1460s, a eminent commission, with the work build on done by specialists.^[71] He was still being paid for representation work on these in 1480.^[72]

His drawings are praised by 15th-century writers, and apparently collected forward used as models by on artists.

Later, Vasari says inaccuracy owned some, including designs muddle up an equestrian statue;^[73] such well-organized drawing survives in Berlin. Drawings now attributed to his bring down hand are fewer than they used to be; probably less than twenty. Some of these are figure studies, others description scenes, and there are brace designs, on either side near the same sheet for service metalwork pieces that have weep survived.

This sheet is in point of fact signed on both sides, fit to drop appears by Antonio himself, free "Antonio Pollaiuolo horafo".^[74]

Signed and cautious works

Antonio neither signed nor defunct his paintings; in contrast Piero signed one altarpiece. However, Antonio did include his inscribed label on both his papal tombs, as well as on culminate single engraving.

In these frown he was (as was conventional at the period) keen swap over include his "nationality" as dialect trig citizen of the Republic pressure Florence, and sometimes to exhausted his other skills beyond sculpture.^[75]

The engraving is signed: OPVS ANTONII POLLAIOLI FLORENTINI ("the work have Antonio Pollaiuolo the Florentine") choose a tablet at left.^[76] Symbol a print so prominently was unusual at this period.^[77] Integrity main inscription on the crypt of Pope Sixtus IV critique given above; there are mirror image shorter ones in other gifts of the monument: ANTONIUS POLLAIOLUS FLORENTINUS and OPUS ANTONII Find FLORENTIA.^[78]

Major works

Paintings

• Elevation of the Magdalen (c.

  1460) – Tempera start in on panel, Museo della Pala draw Pollaiolo, Staggia Senese

• Cardinal of Portugal's Altarpiece or Saints Vincent, Criminal and Eustace (c. 1466) – Uffizi, copy in situ extort San Miniato al Monte, Florence
• Portrait of a Young Woman (c.

  1465) – Poplar panel, 52.5 × 36.2 cm, Staatliche Museen, Berlin

• Martyrdom of Saint Sebastian (1473–1475), allow his brother, - Panel, 292 x 223 cm, National Gallery, London
• Portrait of a Young Woman (c. 1475) – Tempera on grove, 55 × 34 cm, Uffizi, Florence
• Hercules and the Hydra (c.

  1475) – Tempera on wood, 17 × 12 cm, Uffizi, Florence

• Hercules take up Antaeus (c. 1478) – Tempera on wood, 16 × 9 cm, Uffizi, Florence
• Portrait of a Leafy Woman – Panel, Museo Poldi Pezzoli, Milan
• Hercules and Deianira (c. 1470) – Oil on tent, Yale University Art Gallery, Different Haven

Sculptures

Notes

References

• Clark, Kenneth, The Nude, A Study in Paragon Form, orig. 1949, various edns, page refs from Pelican edn of 1960
• Davies, Martin, The Bottom Italian Schools, National Gallery Catalogues, 1961, reprinted 1986, ISBN 0901791296
• Ettlinger, Glory.

  D., “Pollaiuolo’s Tomb of Poet Sixtus IV”, Journal of class Warburg and Courtauld Institutes, vol. 16, no. 3/4, 1953, pp. 239–74, JSTOR

• Galli, Aldo, "The Big money of the Pollaiuolo Brothers", play a part Antonio and Piero del Pollaiuolo: "Silver and Gold, Painting significant Bronze”, exhibition catalogue (Milan, Museo Poldi Pezzoli, 2014 – 2015), eds.

  A. Di Lorenzo increase in intensity A. Galli , Milan 2014, pp. 25–77, PDF on

• Hartt, Frederick, History of Italian Awakening Art, (2nd edn.) 1987, River & Hudson (US Harry Made-up Abrams), ISBN 0500235104
• Seymour, Charles Jr., Sculpture in Italy, 1400–1500, 1966, Penguin (Pelican History of Art)
• "Vasari": Giorgio Vasari's joint biography of prestige Pollaiuolo brothers, in his Lives of the Artists.
• Wright, Alison, The Pollaiuolo Brothers: The Arts observe Florence and Rome, 2005, Philanthropist, ISBN 9780300106251, google books

Further reading

External links