Antonio di Jacopo Pollaiuolo (January 17, 1432/1433 – February 4,
1498, Rome), also known as Antonio del Pollaiolo or Antonio Pollaiolo, was
an Italian painter, sculptor and goldsmith during the Renaissance, who
also did valuable service in perfecting the art of enamelling. He was born
in Florence.
His brother was the artist Piero Pollaiuolo and the two frequently worked
together. Their work shows both classical influences and an interest in
human anatomy; reportedly, the brothers carried out dissections to improve
their knowledge of the subject. They took their nickname from the trade of
their father, who in fact sold poultry (pollaio meaning "hen
coop" in Italian). Antonio's first studies of goldsmithing and
metalworking were under either his father or Andrea del Castagno: the
latter probably taught him also in painting.
Some of Pollaiuolo's painting exhibits an excess of brutality, of which
the characteristics can be studied in the Saint Sebastian, painted in
1473-1475 for the Pucci Chapel of the SS. Annunziata of Florence. However,
in contrast, his female portraits exhibit a calmness and a meticulous
attention to detail of fashion, as was the norm in late 15th century
portraiture.
But it was as a sculptor and metal-worker that he achieved his greatest
successes. The exact ascription of his works is doubtful, as his brother
Piero did much in collaboration with him.
In 1484 Antonio took up his residence in Rome, where he executed the tomb
of Pope Sixtus IV in the Grottos of St. Peter's (finished in 1493), a
composition in which he again manifested the quality of exaggeration in
the anatomical features of the figures. In 1496 he went to Florence in
order to put the finishing touches to the work already begun in the
sacristy of Santo Spirito.
He died, as a rich man, having just finished his mausoleum of Pope
Innocent VIII, also in St. Peter's, and was buried in the church of San
Pietro in Vincoli, where a monument was raised to him near that of his
brother.
Among Antonio's skill his mastery in renderings of the human figure in
motion has been pointed out. Antonio's main contribution to Florentine
painting lay in his searching analysis of the anatomy of the body in
movement or under conditions of strain, but he is also important for his
pioneering interest in landscape. Antonio is said to have anticipated
Leonardo in dissecting corpses in order to study the anatomy of the body.
Pollaiuolo's students included Sandro Botticelli.
Major works
Paintings and engravings
Altarpiece for the Chapel of the Cardinal of Portugal (1467) - Fresco, San
Miniato al Monte, Florence
Portrait of a Young Woman (c. 1465) - Poplar panel, 52,5 x 36,2 cm,
Staatliche Museen, Berlin
The Saints Vincent, James and Eustace (1468) - Tempera on wood, 172 x 179
cm, Uffizi, Florence
Battle of Ten Nudes (1470s) - Engraving, 42,8 x 61,8 cm, Uffizi, Florence
Apollo and Daphne (1470-1480) - Tempera on wood, 30 x 20 cm, National
Gallery, London
Nude Warriors in Combat (c. 1470-1475) - Engraving, Louvre, Paris
Saint Sebastian (1473-1475) - Panel, 292 x 223 cm, National Gallery,
London
Portrait of a Young Woman (c. 1475) - Tempera on wood, 55 x 34 cm, Uffizi,
Florence
Hercules and the Hydra (c. 1475) - Tempera on wood, 17 x 12 cm, Uffizi,
Florence
Hercules and Antaeus (c. 1478)- Tempera on wood, 16 x 9 cm, Uffizi,
Florence
Portrait of a Girl - Panel, Museo Poldi Pezzoli, Milan
Sculptures
Judith (c.1455-70) - bronze
St Christopher and the Infant Christ (Pollaiolo) - Metropolitan Museum,
New York
Hercules (no date) - Bronze
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It uses material from the Wikipedia
article "Italian Renaissance".