Antonio Del Pollaiuolo

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Pollaiuolo, Antonio Del


(real surname Benci). Born Jan. 17, 1433, in Florence; died Feb. 4, 1498, in Rome. Italian painter, sculptor, goldsmith, and engraver. Representative of the Florentine school of the late quattrocento.

Pollaiuolo, who was influenced by Donatello and A. del Cas-tagno, combined expressiveness with an enthusiasm for the rational regularities of the natural world. The refined, crisp line typical of his sculpture (tomb of Pope Sixtus IV in the Vatican grottoes, bronze, 1489–93) is also manifest in his painting. Such paintings as Hercules and Antaeus (c. 1465, Uffizi Gallery, Florence) and The Rape of Deianira (Yale University Art Gallery, New Haven) reveal the artist’s interest in body movements, anatomy, perspective, and landscape. The same interests are evident in his copperplate engravings, which were often used by the Renaissance masters as models for the representation of the naked body. Pollaiuolo collaborated with his brother Piero (born 1443; died 1496).


Sabatini, A. Antonio e Piero del Pollaiolo. Florence, 1944.
Busignani, A. Pollaiolo. Florence, 1970.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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This examination of representations of violence in 15th-century Florence considers how Piero di Cosimo, Antonio del Pollaiuolo, and the young Michelangelo were often inspired by the art of antiquity as well as contemporary cruelties.
Ovidian ekphrases also abounded in painterly visions from Antonio del Pollaiuolo to Botticelli, Hans Baldung, Lucas Cranach the Elder, and Titian.
After this, he became an apprentice to the painter Fra Filippo Lippi and later to Antonio del Pollaiuolo, both master artists of the early Renaissance in Florence.
Other early profiles by Lippi, Paolo Uccello, and Antonio del Pollaiuolo are featured in the exhibition.
In his 1950 review, Watt notes that Antonio del Pollaiuolo's Portrait of a Young Man in the collection of Amsterdam's Rijksmuseum had been catalogued by Berenson just 14 years earlier as a work of Francesco Botticini, while previously Wilhelm yon Bode had attributed the same picture to Filippino Lippi.
What then, would they make of a gilded polyptych by one of the Vivarini, a painted terracotta group by Guido Mazzoni, or Antonio del Pollaiuolo's silver processional reliquary cross for the Florentine Baptistery?
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