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 (və-rō′kē-ō, vĕr-rōk′kyō), Andrea del Originally Andrea di Michele di Francesco Cione. 1435-1488.
Florentine sculptor and painter who was a tutor of Leonardo da Vinci and is best known for a magnificent equestrian statue in Venice.


(vəˈrəʊkɪˌəʊ; Italian verˈrɔkkjo)
(Biography) Andrea del (anˈdrɛːa del). 1435–88, Italian sculptor, painter, and goldsmith of the Florentine school: noted esp for the equestrian statue of Bartolommeo Colleoni in Venice


(vəˈroʊ kiˌoʊ)

Andrea del, 1435–88, Italian goldsmith, sculptor, and painter.
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At 14, he was apprenticed to the workshop of Andrea del Verrocchio, who was (so Vasari claimed) "astonished" by his talent and with whom he collaborated before producing at least two early masterpieces, The Annunciation and (his first non-religious effort, and one to rank with the Mona Lisa) Ginevra de' Benci.
Equally suggestive, and even more complex, are passages in which works of art become animate creatures: for example, swallows graze the equestrian statue of Marcus Aurelius on top of the Campidoglio, and the horse "a ogni strido sembra sia per scavalcare l'Imperatore e per impennarsi"/"Riotous swallows brush past Marcus Aurelius' green horse, which at each cry of the birds looks about to throw the Emperor off its back and rear up before this latest destiny" (D'Annunzio, 1995: 58; D'Annunzio, 2012: 73); the narrator then asks for information on another equestrian statue, the one dedicated by Verrocchio to Bartolomeo Colleoni, in the Campo San Zanipolo in Venice, no less appreciated by the local sparrows: "Che fa il Colleoni sul suo piedistallo?
As chief pupil of the workshop of Andrea Verrocchio, the heir to Donatello and Michelozzo as the principal artisanal provider to the ruling Medici clan, da Vinci would certainly have been present as one of the supporting cast at this momentous event, and may even have performed musically to celebrate it (as he was famous in his youth for composing extempore songs at public events).
The replicas include plaster casts of works by Praxiteles, Verrocchio, and Donatello: They are placed alongside Richmond Barthe's red terra-cotta African Head, 1935; Nicholas Alden Brooks's trompe l'oeil painting Handbill of the Play at the Night of Lincoln's Assassination, 1893; original late-nineteenth- to early-twentieth-century pairs of Cheyenne and Sioux moccasins; and the wooden base of a fifth-century Buddha sculpture, all drawn from the museum's holdings.
Todos los bronces en el mundo, explica, tienen problemas, el caballito de Verrocchio o el Gattamelata, y no se les hace todo lo que se ha hecho con El Caballito de Tolsa:
It really all started in 1469 when Leonardo began working in the workshop of the Italian painter, sculptor and goldsmith Andrea del Verrocchio on the construction of Florence Cathedral.
En otro caso, de maestros de Leonardo, en los que destaca Andrea de Verrocchio.
Rebell recalls Leonardo da Vinci, Andrea Verrocchio and Sodoma (Rebell, 20), while Tailhade mentions << la science de Brunetto Latini >> (Tailhade, 81).
They are certainly products of the Florentine studio of Andrea del Verrocchio, where Leonardo trained, but the pooling of skills in this busy workshop makes attribution difficult.
But he has lost the attention, because of this crowded field: from Ghirlandaio and Verrocchio to Lippi and Botticelli.
Italian painting is reduced to the 15 th and the 16th centuries and before them we find "an un crystallized" art represented by Uccello, Verrocchio, Mantegna, Bellini and others, with the only exception of Masaccio, "a genius" and "an isolated inventor".