Pollaiuolo


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Pollaiuolo

(pōl-läyo͞o-ô`lō), family of Florentine artists. Jacopo Pollaiuolo was a noted 15th-century goldsmith. His son and pupil Antonio Pollaiuolo, 1429?–1498, goldsmith, sculptor, painter, and engraver, became head of one of the foremost Florentine workshops, with many pupils and assistants. He was a great draftsman and may have been the first artist to study anatomy by dissection. Many of Antonio's paintings were executed in collaboration with his brother Piero. Although greatly influenced by Castagno and Donatello, Antonio developed his own highly dynamic style. He displayed ample skill in his delineation of anatomy and attained a mastery of figures in action by his energetic use of line.

Highly regarded by the Medici, Antonio and his brother painted for them three canvases depicting the Labors of Hercules (lost). Small versions exist of Hercules and the Hydra (Uffizi); a painting and a bronze statuette of Hercules and Antaeus (both: Uffizi); and Hercules and Deianira (Yale Univ.). Other famous canvases are Apollo and Daphne and The Martyrdom of St. Sebastian (National Gall., London); the lively Dancing Nudes (Arcetri); and Tobias and the Angel (Turin). One of Antonio's rare signed engravings, Ten Fighting Nudes, is in the Ufizzi. In 1484 he was summoned with his brother to Rome by Pope Innocent VIII and there executed the bronze tomb of Sixtus IV and the monument to Innocent VIII in St. Peter's.

Bibliography

See C. Seymour, Sculpture in Italy, 1400 to 1500 (1966); L. D. Ettlinger, Antonio and Piero Pollaiuolo (1978).

Piero Pollaiuolo, 1443–96, a painter, was associated with his brother. He is generally considered to be less gifted than his brother, judging by his independent works. They include the Virtues (Uffizi) and Coronation of the Virgin in the Church of Sant' Agostino in San Gimignano.

Their nephew, Simone del Pollaiuolo, 1457–1508, Italian architect, worked chiefly in Florence. After a visit to Rome to study the remains of antiquity, he was nicknamed Il Cronaca [Ital.,=chronicle] because of the endless tales he told. His chief monument is the noble Strozzi Palace, which he finished in 1540 after the death of Benedetto da Majano; Cronaca is responsible for the beautiful cornice and the interior courtyard. He also worked on the Great Hall of the Palazzo Vecchio (1495) and the Church of San Salvatore al Monte (1504), admired for its purity of design. He may have worked on the sacristy of Santo Spirito and the Palazzo Guadagni.

Pollaiuolo

1. Antonio , ?1432--98, Florentine painter, sculptor, goldsmith, and engraver: his paintings include the Martyrdom of St Sebastian
2. his brother Piero . ?1443--96, Florentine painter and sculptor
References in periodicals archive ?
Il est vrai que Botticelli a sacrifie une partie des elements essentiels aux yeux de son predecesseur: ses figures n'ont pas la meme solidite et elles ne sont pas dessinees aussi correctement que celles de Pollaiuolo ou de Masaccio.
MATEO GOMEZ, "La batalla de los gigantes de Pollaiuolo en la silleria del coro de Ciudad Rodrigo", Boletin del Seminario de Estudios de Arte y Arqueologia, 55 (1989), pp.
Uno de los talleres mas afamados del ultimo tercio del siglo XV sera el de los Pollaiuolo. Uno de sus componentes, Antonio, (1429-1498) hizo en su Martirio de San Sebastian4 fechado hacia 1475 un cuadro armonico y correcto en el dibujo, con un tema habitual en el arte cristiano, el martirio del santo que aparece atado a un arbol rodeado de seis verdugos.
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.
His drawings after Andrea Mantegna and Antonio Pollaiuolo reflected his appreciation of Italian painting, which at its peak was guided by knowledge of geometry and proportion.
Durry-Lowes' Pollaiuolo David on a Shield, a Castagno now in the National Gallery in Washington, many ducal Canalettos, the Panshanger Raphaels; Mr.
Jerome," Margheritone's "Crucifixion with Saints," and Pollaiuolo's "Christ at the Column." What can be the motivation for this divergence of fact and fiction?
On display are drawings by da Vinci's teacher, Andrea Del Verrocchio, and his contemporaries, such as Antonia del Pollaiuolo and Lorenzo di Credi.
Other early profiles by Lippi, Paolo Uccello, and Antonio del Pollaiuolo are featured in the exhibition.
While still a journeyman, Durer began to copy prints by Mantegna and Pollaiuolo. Attracted to the classical ideas transmitted through these Italian Renaissance artists, Durer was the first northern artist to travel to Italy with the express purpose of studying Italian art and theories at the source.
Verrocchio's principal competition was Antonio Pollaiuolo's workshop, works of which were famed for their naturalism, a trait that was growing popular in Florence of the later 1460s.
The large painting by the Pollaiuolo brothers in the National Gallery is a particularly well known example.