Paolo Uccello


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Uccello, Paolo

(pä`ōlō o͞ot-chĕl`lō), c.1396–1475, Florentine painter. Uccello was little appreciated in his own time, and much of his work has been destroyed or is in poor condition. Although first apprenticed to Ghiberti, he later shows the influence of Masaccio. In 1425 he went to Venice and worked on mosaics for St. Mark's. After about five years he returned to Florence and painted Creation scenes in the cloister of Santa Maria Novella. In 1436 he was commissioned to paint an equestrian figure of Sir John Hawkwood in monochrome for the cathedral. He also depicted four prophets for the clockface of the cathedral. Uccello's most significant contribution is his cycle of Noah for Santa Maria Novella. According to Vasari, he represented the dead, the tempest, the fury of the winds, and the terror of men. Indeed, in the Deluge he combined a rigorous system of perspective with details of unsparing realism. Uccello's most famous scenes are from the Battle of San Romano (Uffizi; Louvre; and National Gall., London), notable for their rich, decorative panoply, for their solid, wooden toylike figures and for the experiments he made in foreshortening.

Bibliography

See his complete works ed. by J. Pope-Hennessy (2d ed. 1969).

Uccello, Paolo

 

(also Paolo di Dono). Born 1397 in Florence; died there Dec. 10, 1475. Italian painter of the 15th-century Florentine school.

Uccello was influenced by Donatello, F. Brunelleschi, Masaccio, and especially L. Ghiberti, in whose workshop he trained from 1407 to 1414. In addition to his years in Florence, he worked in Venice (1425–30), Padua (c. 1447), and Urbino (1465–68). Uccello’s works marvelously combine a fidelity to Gothic art and a fascination with the new, realistic style. Striving to organically integrate artistic form with scientific precision, Uccello studied plants, animals, and birds and rendered space in accordance with the rules of mathematical perspective.

Uccello’s works include heroic portraits of his contemporaries, for example, a fresco portrayal of the condottiere J. de Hawk-wood in the cathedral in Florence (1456), three dynamic, vibrant pictures depicting the battle of San Romano, which are among the earliest examples of the battle genre in modern European art (mid-1450’s; National Gallery, London, and other collections), and the charming, poetic Hunting Scene (late 1460’s; Ashmolean Museum, Oxford).

REFERENCE

Sidona, E. Paolo Uccello. Milan, 1957.
References in periodicals archive ?
One may possibly trust Vasari regarding attributions to Dello of some works, regarding Dello's friendship with Paolo Uccello, and regarding Dello's stint as muralist, painting the severely damaged Isaac Blessing his Sons Jacob and Esau scene in the 'Chiostro Verde' at S Maria Novella, where Uccello was also working, but there is thus far no verifiable proof.
Yet it is especially the earliest scenes, in the two lowest registers on the left half of the retablo, that offer a formal vocabulary that teems with beautiful and knowledgeable citations from a variety of works, not only by the great trecento Sienese painters, such as Ambrogio Lorenzetti, but also by the great artists who were active in Florence and the north during the 1420s and 1430s, Lorenzo Ghiberti, Masolino, Paolo Uccello, Fra Angelico, the young Domenico Veneziano, Gentile da Fabriano, Pisanello, and Jacopo Bellini.
19) For example, one might expect hybrid echoes of Ambrogio Lorenzetti, Niccolo di Buonacorso, Paolo di Giovanni Fei, Gentile da Fabriano, Jacopo Bellini, Pisanello, Lorenzo Ghiberti, Masolino, Paolo Uccello, and Fra Angelico.
Oh che dolce cosa e questa prospettiva", ripeteva Paolo Uccello fin quasi nel sonno, a testimonianza di un fascino e di un incanto inebrianti, ma anche di una passione divorante, come non accade quando la scoperta riguarda uno strumento fisico o concettuale, bensi quando e una nuova dimensione ad aprirsi, intatta e vertiginosa, davanti al pensiero di un'epoca.
Ma se grazie alla matematica ed alla geometria Brunelleschi, Alberti e Paolo Uccello possono sfuggire alla riprovazione platonica gia caduta su Fidia, "l'ingegno sofistico" dello stesso Paolo ci ricorda la tentazione anche storicamente irresistibile toccata in sorte a questi grandi artisti, e cioe il loro misurarsi di volta in volta con l'apparenza, l'impossibile, il non-essere.
To art historians such a pronouncement will hardly come as a revelation, although they might balk at Palmer's proposal that Cosme Tura and Ercole de' Roberti were 'the equals of Tuscan contemporaries such as Paolo Uccello, Filippo Lippi and Sandro Botticelli.
1440-42), and a Florentine artist, possibly Paolo Uccello (ca.
A visitor admires Ra (Inverted) by Bridget Riley Antony Gormley, Horizon Field (2010) Ceri Hand with Andy Warhol's Paolo Uccello (St George and the Dragon) No.
Other early profiles by Lippi, Paolo Uccello, and Antonio del Pollaiuolo are featured in the exhibition.
On the one hand, it led to an unprecedented interest in the geometric, unornamented art of Giotto, Masaccio, Paolo Uccello, and Piero della Francesca; on the other, it cast a long shadow over the appreciation of the decorative ornate dimensions of Italian Renaissance art" (60).
Around 25 works by the artist, such as Virgin and Child (after 1430), accompany panels by his contemporaries Filippo Lippi, Zanobi Strozzi and Paolo Uccello.
The influence of the vocabulary of basic and primary forms found in certain Renaissance paintings, especially those of Paolo Uccello and Piero della Francesca, is also evident.