Lorenzo di Credi


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Lorenzo di Credi

(lōrĕn`tsō dē krĕ`dē), 1459–1537, Florentine painter. He spent his early years in the workshop of Verrocchio, whom he assisted in the painting of an altarpiece at the Cathedral of Pistoia. He was strongly influenced by his fellow pupil Leonardo da Vinci, whose works he copied devotedly. Examples of his art are two of the Madonna (Turin); Annunciation (Uffizi); Madonna Adoring the Child (Metropolitan Mus.); and Boy's Head (Mus. of Fine Arts, Boston).

Credi, Lorenzo di:

see Lorenzo di CrediLorenzo di Credi
, 1459–1537, Florentine painter. He spent his early years in the workshop of Verrocchio, whom he assisted in the painting of an altarpiece at the Cathedral of Pistoia.
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References in periodicals archive ?
It also brings together the 'School of Verrocchio', including the team of skilled artists (notably Lorenzo di Credi and Francesco di Simone Ferrucci) who executed commissions when the workload increased.
They also sold 25 originals by European artists, including the Italian Renaissance painter and sculptor Lorenzo di Credi.
On display are drawings by da Vinci's teacher, Andrea Del Verrocchio, and his contemporaries, such as Antonia del Pollaiuolo and Lorenzo di Credi. Works from his Milanese pupils are also on display.
137) di un collaboratore di Lorenzo di Credi dove la posizione delle mani ha due funzioni: una vicina al corpo, a protezione del seno destro, mentre la sinistra vuole allontanare con tutto il braccio l'avvicinarsi di Eros.
From Fra Filippo Lippi through Sandro Botticelli, Lorenzo di Credi, and Piero di Gosimo to Michelangelo, Raphael, and Giuliano Bugiardini, she notes that tondi flooded the Florentine market as part of the idealization of domestic life and the celebration of family relationships.
1), modestly attributed to Lorenzo di Credi, is actually by two different artists, one of whom was Leonardo da Vinci--something that seems to have escaped the attention of every Leonardo scholar who never bothered to travel to Worcester, Massachusetts (presumably, the overwhelming majority of writers on the artist).
Not only do we see him interacting with his bright young assistants, Lorenzo di Credi and Leonardo da Vinci, but the catalogue entries fully reveal the intelligent dialogues he held with himself and his own works, especially as his thinking moved from drawing to modeling in terracotta to painting and back again.
1), then attributed to Lorenzo di Credi, and now to be the focus of an exhibition suggesting it should be reattributed to Leonardo.
The exact nature of the working relationship between Verrocchio and his apprentices and assistants -- who are thought to have included Botticelli, Ghirlandaio, Lorenzo di Credi, Perugino, and Signorelli -- is unknown.
Three years later, it was shown to the authorities at the Alte Pinakothek, who thought it was the joint work of Lorenzo di Credi and Leonardo.
Ironically, Verrocchio trained no artist who concentrated on sculpture; however, painters like Perugino, Lorenzo di Credi, Signorelli, and Ghirlandaio, all dominant figures in late fifteenth-century Italian painting, were his students.
The Annunciation, originally part of the predella of the Madonna di Piazza altarpiece in Pistoia cathedral, is often assigned to Leonardo's colleague Lorenzo di Credi (who certainly painted the main panel).