Pollaiuolo


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Pollaiuolo

(Italian pollajˈwɔːlo)
n
1. (Biography) Antonio (anˈtɔːnjo), ?1432–98, Florentine painter, sculptor, goldsmith, and engraver: his paintings include the Martyrdom of St Sebastian
2. (Biography) his brother Piero (ˈpjɛːro). ?1443–96, Florentine painter and sculptor
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References in periodicals archive ?
(The sign of the female body, it turns out, is not negated or scrubbed out of this chapter entirely.) It also does not help that the illustrations little resemble more celebrated renderings of this Ovidian metamorphosis, such as Piero del Pollaiuolo's Apollo and Daphne (1470-80), which oil on wood painting is housed at the National Gallery, London (fig.
More recently, he has expanded the scope of this group by acquiring an earlier Deruta dish of around 1470-80, its engaging subject a profile head of a youth that brings to mind both the portraits of Pollaiuolo and the medals of Pisanello, and may have been one of a pair of portraits made to commemorate a betrothal (Fig.
These were contextualized within Florentine art production and patronage, as the room included drawings from the Ghirlandaio workshop in which Michelangelo trained, works by Verrocchio and the Pollaiuolo brothers, drawings by Michelangelo after the eminent masters of an earlier generation (Giotto, Masaccio, and Donatello); and work by Martin Schongauer, one of many Northern European artists favored in Florence in the late fifteenth century.
(41) The Martyrdom of St Sebastian (1473-75) painted for the Pucci Chapel by Piero and Antonio Pollaiuolo is a fine example of the type of painting that celebrates the male figure and demonstrates painterly virtuosity (see Figure 1).
Each dog's pose is the reverse of the other, similar to human figures in Pollaiuolo's Battle of the Ten Nudes and St.
Esa adicion, dicho sea de paso, tuvo como antecedente una imagen de la prudencia en la que Apollonio di Giovanni, pintor y miniaturista contemporaneo a Pollaiuolo (CALLMANN 1974), hacia 1465, introdujo en un panel que remata el extremo de un cofre, un cuerno en vez de una serpiente, empleado en alegoria a "La templanza de Escipion".
It moves through major developments in painting from the fifteenth to the seventeenth century, such as Antonio del Pollaiuolo's Portrait of a Woman (c.
(10) No en vano el grabado mas celebre del siglo XV, La batalla de los desnudos de Antonio Pollaiuolo (ca.1460), no tiene un tema especifico, sino que parece ser mas bien una puesta en escena de cuerpos en posiciones variadas, lo que podria interpretarse como una declaracion artistica, sin corresponder a un encargo o exigencia externa.
Ovidian ekphrases also abounded in painterly visions from Antonio del Pollaiuolo to Botticelli, Hans Baldung, Lucas Cranach the Elder, and Titian.