Verrocchio and Late Quattrocento Italian Sculpture

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Verrocchio and Late Quattrocento Italian Sculpture

TABLE OF CONTENTS Preface VII JAMES A. MASON and WALTER KAISER Introduction STEVEN BULE and ALAN PHIPPS DARR Section I — Verrocchio Studies on the 500th anniversary of his death The Current State of Verrocchio Study 7 DARK) A. COVI . Pictorialism in the Sculpture of Verrocchio 25 TIMOTHY VERDON The Corpus Verum: Orsanmichele, Tabernacles, and Verrocchio's Incredulity of St. Thomas 33 KRISTEN VAN AUSDALL Verrocchio's Medici Tombs 51 CHRISTINE M. SPERLING Verrocchio's Medici Tomb and the Language of Materials; with a Postscript on His Legacy in Venice 63 WENDY STEDMAN S HEARD Per una giusta vantazione del Verrocchio 91 DARK) A. COVI Proposte per il Verrocchio giovane 101 ARTUR ROSENAUER Verrocchio's David 107 ANDREW BUTTERFIELD New Light on Verrocchio's Beheading of the Baptist 117 ANTHONY RADCLIFFE Verrocchio's Legacy: Observations Regarding His Influence on Pietro Torrigiani and Other Florentine Sculptors 125 ALAN PHIPPS DARR IV Tracce ed elementi verrocchieschi nella tarda produzione grafica e pittorica di Leonardo 141 PIETRO C. MARANI II Putto di Washington 153 ALESSANDRO PARRONCHI La tecnica di fonderia ai tempi del Verrocchio 157 MASSIMO LEONI Obiettivi e primi risultati: il restauro del gruppo bronzeo del Verrocchio in Orsanmichele 163 LORETTA DOLCINI, MAURO MATTEINI Andrea del Verrocchio: A Selected Bibliography (1935-1988) 169 Section II — Sculpture in Tuscany Glosses on the Career of Desiderio da Settignano 179 ANNE MARKHAM SCHULZ A New Context and a New Chronology for Antonio Rossellino's St. Sebastian in Empoli 189 ERIC C. APFELSTADT Matteo Civitali's Statues for the Cathedral of Genoa 205 STEVEN BULE Benedetto da Maiano and the Use of Full Scale Preparatory Models in the Quattrocento 217 GARY M. RADKE Urbano da Cortona: Corrections and Observations 225 ROBERT MUNMAN Michelangelo's Vatican Pietà: Altarpiece or Grave Memorial? 243 WILLIAM E. WALLACE Section III — Sculpture outside the Tuscan 'ambiente' Donatello's High Altar in the Santo, Padua 259 SARAH BLAKE MCHAM On Sources and Meaning of Nicola Pisano's Arca di San Domenico in Bologna 271 ANITA MOSKOWTTZ Dominican Patronage and the Arca di San Domenico 283 BARBARA DODSWORTH The Monument to Ambrogio Grifi in S. Pietro in Gessate in Milan 291 ELLEN LONGSWORTH Mino da Fiesole's First Roman Sojourn 303 SHELLEY ZURAW Pollaiuolo's Tomb of Innocent VIII 321 ERIC FRANK Section IV — Challenges and Directions Work in Progress: Problems in Methodology 345 JOANNE BERNSTEIN with Debra Pincus and Eric Frank Workshops and Partnerships in Renaissance Sculpture 357 HARRIET MCNEAL with Robert Mode, Steven Buie, and William E. Wallace Quid Turn?—Reflections on the Historiography of Quattrocento Sculpture 377 TIMOTHY VERDON List of Illustrations 387 Illustrations 403 Index of Artists 525.

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Leonardo in Verrocchio's Workshop
National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p.
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Tobias and the Angel by Verrocchio's Workshop
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Verrocchio: Sculptor and Painter of Renaissance Florencei
Jordan S. Sly, Exhibit Review, 4/12/2019 National Gallery of Art | Verrocchio: Sculptor and Painter of Renaissance Florencei Andrea del Verrocchio (birth name Andrea di Michele di Francesco) is a figure of immense importance to Renaissance art. To many visitors to Washington, D.C's National Gallery of Art, however, his name may lack the recognition of his more famous students such as Sandro Botticelli and Leonardo Da Vinci. As Andrew Butterfield, the curator of the recent Verrocchio exhibit discusses in the exhibit's introductory video, Verrocchio was a member of the urbanized artisan guilds, an artist and craftsman to the powerful Medici, and a teacher to many of the era's most famous artists. But, as the exhibit argues, Verrocchio was an amazing artist in his own right and this exhibit, the first to focus primarily on Verrocchio in the United States, emphasizes this fact to indicate his lasting is influence; which can be gleaned, in part from the fact that the collection assembled for this exhibit contains art from museums from around the world.ii Giorgio Vasari, in his Lives of the Artists notes Verrocchio as a studied artist of immense talent, though lacking true artistic gifts. Vasari's central notion is that Verrocchio was a craftsman and keen observer who could accurately reproduce moments from life but did so without artist flair or an artists' eye for story, movement, or emotion. As Vasari notes, Verrocchio’s work was “hard and crude, since it was the product of unremitting study rather than of any natural gift or facility."iii This being said, however, Vasari places him amongst the period's most famous artists primarily, perhaps, because of his association with the Medici and for his influence on the likes Botticelli and Da Vinci; who he notes directly surpassing the master's craft.
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VERROCCHIO CENTER Aleksandar Bogojevic Director, Institute of Physics Belgrade
VERROCCHIO CENTER Aleksandar Bogojevic Director, Institute of Physics Belgrade Ministerial meeting of WB Platform on Education and Training Belgrade, 28-29 September 2017 KEY CHALLENGE How to tap human creativity efficiently and on a global scale? Andrea del Verrocchio Andrea di Michele di Francesco de' Cioni (1435-1488) was a Renaissance painter and sculptor widely known to his peers by the nickname Verrocchio, a contraction of the Italian words vero (true) and occhio (eye), and a fitting tribute to his exceptional artistic achievements. Verrocchio was master of a true factory for nurturing genius – arguably the greatest school ever. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. He also strongly influenced Sandro Botticelli and Domenico Ghirlandaio. And the production of genius did not end there. In the next generation Perugino created Raphael, while Ghirlandaio brought forth Michelangelo. Genius as an infection How improbable is it that transcendental genius such as that of Leonardo, Perugino, Botticelli, Raphael and Michelangelo all emerge independently at the same place and at the same time? It is not improbable, it is impossible. But they did not emerge independently. All these great men belonged to a small tightly bound network of exceptional students and mentors, and at the very hеart of this glorious Petri dish of creativity one finds the prime mover Andrea del Verrocchio. Apotheosis Throughout history human society has learned to tap the inherent creative capacities of only a small number of individuals, and it is this extremely small group that has through the millennia brought about all art, science, technology and social change.
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The Evolution of the Medici Portrait: from Business to Politics
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Francesco Caglioti and Andrea De Marchi)
INDEX 1) Press release 2) Fact Sheet 3) Photo Sheet 4) Introduction to the exhibition sections from the catalogue entries (Francesco Caglioti and Andrea De Marchi) 5) Introduction to the exhibition by Fondazione Palazzo Strozzi Director General, Arturo Galansino and Director of the Musei del Bargello, Paola D’Agostino 6) Introduction to the catalogue by exhibition curators Francesco Caglioti and Andrea De Marchi A CLOSER LOOK a) A new Leonardo: Virgin with the Laughing Child b) Important works of art restored expressly for the exhibition c) Fuorimostra for Verrocchio, Master of Leonardo (with maps) d) Andrea del Verrocchio timeline e) Andrea del Verrocchio’s artistic genealogy 7) Activities in the exhibition and beyond 8) List of the works PRESS RELEASE Verrocchio, Master of Leonardo A major exhibition celebrating Andrea del Verrocchio and his most famous pupil, Leonardo da Vinci, curated by Francesco Caglioti and Andrea De Marchi Palazzo Strozzi, 9 March – 14 July 2019 Promoted and organised by the Fondazione Palazzo Strozzi and Musei del Bargello in collaboration with the National Gallery of Art, Washington DC www.palazostrozzi.org #Verrocchio @palazzostrozzi The first comprehensive retrospective devoted to Andrea del Verrocchio (1435‐1488) will open in Florence this Spring at the Palazzo Strozzi, with an accompanying presentation at the Museo Nazionale del Bargello. Verrocchio, Master of Leonardo will bring together masterpieces by Verrocchio from collections around the world, contextualised by works from his forefathers and peers, as well as by the pupils he worked intensively with, including Leonardo da Vinci, Pietro Perugino, Domenico Ghirlandaio and Sandro Botticelli. The exhibition will demonstrate Verrocchio's remarkable creativity as a solo artist, illustrating his workshop as a crucial place of collaboration, exchange and co-working, where the language and the style of Renaissance art in Florence was forged.
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Study of the Quaternary Alloys in the Cast of the Equestrian Statue of Bartolomeo Colleoni by Andrea Del Verrocchio (Venice 1480) Availing of Edxrf Systems
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Verrocchio: Sculptor and Painter of Renaissance Florence Sep 15, 2019–Jan 12, 2020
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Sandro Botticelli
PRE SANDRO BOTTICELLI -1500 SANDRO BOTTICELLI -1500 Born: Alessandro di Mariano di Vanni Filipepi, c.1444 (Florence, Italy); died May 17, PRE 1510 (Florence, Italy). Artistic style: Classical and mythological themes; allegorical figures; strong linear perspective; depictions of divine beauty and love. Botticelli’s paintings are timeless: their heavy use of allegory renders them as much an enigma as their creator. Yet had the young Alessandro not persuaded his father to end his training as a goldsmith, the world would have been robbed of one of the greatest painters of the Florentine Renaissance. Thankfully, the boy known as Botticelli, meaning “little barrel,” was Masterworks apprenticed to the Early Renaissance master Fra’Filippo Lippi, who set his protégé on the way to greatness. La Primavera c.1482 (Uffizi, Florence, Italy) The Virgin and Child Enthroned (Bardi Lippi’s own style is evident in much of his pupil’s early work, Altarpiece) 1484 (Staatliche Museen, as Botticelli absorbed his master’s taste for extravagant Berlin, Germany) decoration and a strong linear sense of form. When Fra Lippi The Birth of Venus c.1485 (Uffizi, Florence, Italy) left for Spoleto, Botticelli went to work with the painters and Venus and Mars c.1485 (National Gallery, sculptors Antonio Pollaiolo and Andrea del Verrocchio. Both London, England) artists favored naturalistically portrayed, muscular figures; St. Augustine in His Cell 1490–1494 (Uffizi, Florence, Italy) Botticelli admired and copied their sculptural approach. Calumny of Apelles 1494–1495 By 1470 he was an independent painter in Florence with his treatment of mythical and religious themes, and portraiture ABOVE: The Birth of Venus is one of the (Uffizi, Florence, Italy) own workshop and had his first commission: Allegory of skills—showered him with commissions.
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Conservation of Famous Medici Bust Reveals Original Colors and Startling Naturalism; Sculpture Back on View at National Gallery of Art, Washington July 28, 2006
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: July 28, 2006 Conservation of Famous Medici Bust Reveals Original Colors and Startling Naturalism; Sculpture Back on View at National Gallery of Art, Washington July 28, 2006 Image of bust before and after conservation treatment Florentine 15th or 16th century, probably after a model by Andrea del Verrocchio and Orsino Benintendi Lorenzo de' Medici, 1478/1521 painted terracotta, 65.8 x 59.1 x 32.7 cm (25 7/8 x 23 1/4 x 12 7/8 in.) Samuel H. Kress Collection, 1943.4.92 National Gallery of Art, Washington © 2006 Board of Trustees, National Gallery of Art, Washington Washington, DC—The National Gallery of Art’s terracotta bust of Lorenzo de’ Medici, known as Lorenzo the Magnificent when he ruled 15th-century Florence, will be returned to public view after undergoing a remarkable transformation. Research begun more than ten years ago by Gallery conservators and curators led to a painstaking conservation treatment over the past two years, which has revealed vibrant shades of red, dark purple, and flesh tones in the bust. These colors had been buried beneath layers of dirt and over-paint that had left the sculpture a monochromatic brown. The research also resulted several years ago in an attribution change for the bust, from Andrea del Verrocchio to a Florentine Renaissance artist based on a Verrocchio model. Lorenzo de’ Medici (15th or 16th century) will be back on view in the Italian galleries on the Main Floor, West Building, beginning July 28, 2006.
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Verrocchio: Sculptor and Painter of Renaissance Florence’ Review: Reclaiming the Teacher Surpassed by the Pupil - WSJ
9/19/2019 ‘Verrocchio: Sculptor and Painter of Renaissance Florence’ Review: Reclaiming the Teacher Surpassed by the Pupil - WSJ BREAKING NEWS Chinese authorities detained a FedEx pilot, elevating pressure on the shipping company that is already caught up in the U.S.-China trade w This copy is for your personal, non-commercial use only. To order presentation-ready copies for distribution to your colleagues, clients or customers visit https://www.djreprints.com. https://www.wsj.com/articles/verrocchio-sculptor-and-painter-of-renaissance-florence-review-reclaiming-the-teacher-surpassed-by-the-pupil-11568837562 ART REVIEW ‘Verrocchio: Sculptor and Painter of Renaissance Florence’ Review: Reclaiming the Teacher Surpassed by the Pupil Andrea del Verrocchio, Leonardo da Vinci’s mentor, was a stunning innovator and a virtuoso draftsman, sculptor, and painter of psychological depth and subtlety. Andrea del Verrocchio’s ‘Lady With Flowers (c. 14751480) PHOTO: MUSEO NAZIONALE DEL BARGELLO, FLORENCE By Cammy Brothers Sept. 18, 2019 412 pm ET Washington Pity the artist known mainly by association with a former student. Such is the fate of Andrea del Verrocchio (c. 1435-1488), a multifaceted, enormously talented painter and sculptor of Renaissance Florence, who had the misfortune to have taught Leonardo da Vinci when the young artist apprenticed in his studio, and has thus spent the rest of history in his shadow. Until now. With a magniﬁcent exhibition at the National Gallery of Art, “Verrocchio: Sculptor and Painter of Renaissance Florence,” curated by scholar-dealer Andrew Butterﬁeld, the time has come for Verrocchio to reclaim his place as an innovator in his own right.
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The Ripple of Kinesics Through Nature in Leonardo Da Vinci's Art Rachael Herrera Scripps College
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