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 ?
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).
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.
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.
It was followed by three rooms that moved from the late quattrocento world of Lorenzo di Credi (asotto voce standing figure of Saint Bartholomew from Orsanmichele set in a fictive niche) to the 1640s, with a stunning life-size marble of the Risen Christ by the underrated Antonio Novelli (Fig.
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.
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.
Such an original invention would surely have been emulated prior to the Portrait of the Lady Holding a Ring (Metropolitan Museum of Art, New York), attributed to Lorenzo di Credi and currently dated in the 1490s.
More isolated attributions were also proposed to Verrocchio by Wilhelm Suida in 1929, (13) and to Lorenzo di Credi by Woldemar von Seidlitz in 1935.
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 lunettes of the Assumption and the Resurrection modeled by Andrea della Robbia were placed respectively over a Nativity scene painted by Lorenzo di Credi and a Lamentation by Pietro Perugino to form a Redemption cycle that celebrated the defeat of Satan through Mary's sinless bearing of the Savior as well as Christ's victory over death [ILLUSTRATION FOR FIGURES 10 and 11 OMITTED].