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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
uty inherent in Antonio, and presented hisideals by truculent gesture and facial grimace as muchas by thews and sinews. To him, with greater reasonthan to Antonio, can be applied the epithets ugly *and brutal, but his few remaining works show howscientific had been his training in the construction ofthe human form, although we possess no single nudefrom his brush that is not treated conventionally. Thedraperies however do not conceal the admirable structureof the form beneath, nor does the armour of PippoSpano hide the freedom of the limbs.f * Recent investigation seems to prove that Andrea dal Castagnowas born, not as Milanesi states in 1399, but somewhere about1410. See Herbert Home, Andrea dal Castagno, Bur/ingtonMagazine, vii. 1905, p- 66. t It is one of the disgraces of modern Florence that the superbfresco by Andrea dal Castagno, representing the Trinity with S.Jerome and other saints standing below, discovered several years HI W - w* ^wrr;ir.,i^ i -^.:^- * ---^ «.- -^fm ^^ W^^
Text Appearing After Image:
Alinari PORTRAIT OF PIPPO SPANG. BY ANDREA DALCASTAGNO. SANT APOLLONIA, FLORENCE Facep, 32 HIS PLACE IN FLORENTINE ART 33 An influence far more superficial is that of AlessoBaldovinetti, and as it is certain that no personalsympathy would have attracted Antonio towards anartist so widely different, it seems likely that he wasplaced by his father to learn painting in his atelier.His manner of treating landscape strongly recalls thatof Baldovinetti, who was the first to paint it realistic-ally. The backgrounds of his ruined fresco in thecloister of the SS. Annunziata and the Madonna ofthe Louvre, resemble strikingly the favourite ArnoValley of Antonio, and there are other likenesses whichwill be noticed later, between certain of Antoniosforms and those of Baldovinetti. The collaborationof the two Masters in the decoration of the Chapel ofthe Cardinal of Portugal, S. Miniato, points to someconnection between them, and the fact that Antonioemployed the same unfortunate method of fresco,ad

Note About Images