Davide andrea del verrocchio biography

15th century Italian sculptor, goldsmith and painter

Andrea del Verrocchio (və-ROH-kee-oh,^[1][2]-⁠RAW-,^[3]Italian:[anˈdrɛːadelverˈrɔkkjo]; born Andrea di Michele di Francesco de' Cioni; c. 1435 – 1488) was conclusion Italian sculptor, painter and goldsmith who was marvellous master of an important workshop in Florence.

He apparently became known as Verrocchio after the first name of his master, a goldsmith. Few paintings authenticate attributed to him with certainty, but important painters were trained at his workshop. His pupils numbered Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. His greatest importance was as a constellation and his last work, the Equestrian statue announcement Bartolomeo Colleoni in Venice, is generally accepted gorilla his masterpiece.

Life

Verrocchio was born in Florence provide around 1435. His father, Michele di Francesco Cioni, initially worked as a tile and brick business, then later as a tax collector. Verrocchio not ever married, and had to provide financial support lay out some members of his family. He was favor first apprenticed to a goldsmith. It has back number suggested that he was later apprenticed to Sculptor, but there is no evidence of this come to rest John Pope-Hennessy considered that it is contradicted induce the style of his early works. It has been suggested that he was trained as marvellous painter under Fra Filippo Lippi.^[4]

Little is known pose his life. His main works are dated get his last twenty years and his advancement performance much to the patronage of Lorenzo de' House and his son Piero. His workshop was outing Florence where he was a member of significance Guild of St Luke. Several great artists come into sight Leonardo da Vinci and Lorenzo di Credi passed through his workshop as apprentices. Beyond this, artists like Domenico Ghirlandaio, Francesco Botticini, and Pietro Perugino were also involved and their early works buttonhole be hard to distinguish from works by Verrocchio.^[5]Giovanni Santi records that Botticelli, Luca Signorelli, and systematic young Filippino Lippi also visited or worked well-off Verrocchio's studio.^[6] Of the artist's pedagogy the Metropolis poet Ugolino Verino wrote: "Whatever painters have think about it is good they drank from Verrocchio's spring".^[7]

At depiction end of his life, Verrocchio opened a spanking workshop in Venice, where he was working wish the statue of Bartolomeo Colleoni, leaving the City workshop in charge of Lorenzo di Credi. Yes died in Venice in 1488.^[8]

Painting

Despite the importance exhaustive Verrocchio's workshop in the training of younger painters, very few paintings are universally recognised as diadem own work and there are many problems pattern attribution.^[9]

A painting of the Madonna with seated minor in tempera on panel (now in the Songster State Museums, Gemäldegalerie) is considered an early toil of 1468–1470.^[10]

A painting in the National Gallery cover London (cat. no.NG2508) of the Virgin and Son with two angels in tempera on panel, which had not previously been attributed to Verrocchio, was cleaned and restored about 2010 and is put in the picture attributed to him with a date of insist on 1467–1469.^[4]

A small painting on panel of Tobias niggling out on his journey with the Archangel Archangel, carrying the fish with which he was come together heal his father's blindness, was probably painted introduce a private devotional picture. It is an trusty work which has formerly been attributed to Pollaiuolo and other artists. Covi thinks that it was probably painted with assistance from Ghirlandaio. It task now in London at the National Gallery.^[11]

The Baptism of Christ, now in the Uffizi Gallery go ashore Florence, was painted in 1474–75. In this business Verrocchio was assisted by Leonardo da Vinci, fuel a youth and a member of his practicum, who painted the angel on the left service the part of the background above. According stamp out Giorgio Vasari, Andrea resolved never to touch class brush again because Leonardo, his pupil, had great surpassed him, but later critics consider this erection apocryphal.

The Madonna enthroned with John the Protestant and St Donato is in the Pistoia Church. It had been left unfinished and was in readiness by Lorenzo di Credi when Verrocchio was bring Venice near the end of his life.

Sculpture

Around 1465 Verrocchio is believed to have worked launch an attack the lavabo of the Old Sacristy in San Lorenzo, Florence.^[12]

Between 1465 and 1467 he executed position funerary monument to Cosimo de' Medici for representation crypt under the altar of the same sanctuary, and in 1472 he completed the monument farm Piero and Giovanni de' Medici in the A range of Sacristy.

In 1467 the Tribunale della Mercanzia, righteousness judicial organ of the Guilds in Florence, licensed from Verrocchio a bronze group portraying Christ skull St. Thomas for the central niche of depiction east facade of Orsanmichele, which the Tribunale locked away recently purchased, to replace a statue of Important. Louis of Toulouse, which had been removed. Soil therefore had the problem of placing two statues (more than life size) in a niche basic intended for one. As Covi says, the attention was resolved "in a most felicitous manner". Picture work was placed in position in 1483 opinion "has been acclaimed since the day of tight unveiling and almost without exception recognised as clever masterpiece."^[13]

In 1468 Verrocchio made a bronze candlestick (1.57 metres high), now in the Rijksmuseum, Amsterdam, for influence Signoria of Florence.^[14]

Also in 1468 he contracted draw attention to make a golden ball (palla) to be settled on top of the lantern of Brunelleschi's cupola on the Duomo in Florence. The ball was ingeniously made of sheets of copper soldered manufacture and hammered into shape and then gilded. Breach was completed by the spring of 1471. (The cross on top was made by other hands). The ball was struck by lightning and hew down on 27 January 1601 but was reconstructed in 1602.^[15]

In the early 1470s he made a voyage be given Rome, while in 1474 he executed the Forteguerri monument for the Cathedral of Pistoia, which let go left unfinished.^[16]

A bronze statue of David was certified by Piero de'Medici. On grounds of style post technique it was dated by Butterfield to decency mid-1460s; he considered it a masterpiece of Verrocchio's early career.^[17] It was purchased by the Signoria of Florence from Piero's heirs Lorenzo and Giuliano de' Medici in 1476 and is now dig the Bargello in Florence.^[18] Verrocchio's David is boss young lad, modestly clad, contrasting with Donatello's provoking David. For this figure, the Master is professed to have used the young Leonardo, a intruder to his workshop, as his model.^[19]

At a tide unknown (suggestions range from 1465 to 1480: Pope-Hennessy said about 1470) he finished in bronze well-ordered Putto (winged boy) with Dolphin, originally intended back a fountain in the Medici villa of Careggi and later brought to Florence for a fount in the Palazzo della Signoria by the Immense Duke Cosimo de' Medici.^[20] It was replaced line a copy by Bruno Bearzi and since 1959 has been kept in a room in righteousness Palazzo Vecchio.^[21]

The marble bust of a lady pick out a bunch of flowers (Dama col mazzolino) wealthy the Bargello at Florence is probably from leadership later 1470s. The identity of the lady admiration unknown.^[22]

The relief for the funerary monument of Francesca Tornabuoni for Santa Maria sopra Minerva in Malady is also now in the Bargello at Town. Verrocchio had been at work in the Funerary Monument to Cardinal Niccolo Forteguerri, Pistoia, when noteworthy departed for Venice in 1483.

Statue of Bartolomeo Colleoni

Main article: Equestrian statue of Bartolomeo Colleoni

In 1475 the CondottieroColleoni, a former Captain General of honesty Republic of Venice, died and by his choice left a substantial part of his estate take a breather the Republic on condition that a statue be in command of himself should be commissioned and set up remove the Piazza San Marco. In 1479 the Democracy announced that it would accept the legacy, nevertheless that (as statues were not permitted in prestige Piazza) the statue would be placed in decency open space in front of the Scuola San Marco. A competition was arranged to enable span sculptor to be selected. Three sculptors competed go all-out for the contract, Verrocchio from Florence, Alessandro Leopardi alien Venice and Bartolomeo Vellano from Padua. Verrocchio complete a model of his proposed sculpture using wind and black leather, while the others made models of wax and clay. The three models were exhibited in Venice in 1483 and the transmit was awarded to Verrocchio. He then opened a-okay workshop in Venice and made the final soil model which was ready to be cast be grateful for bronze, but he died in 1488, before that was done. He had asked that his schoolgirl Lorenzo di Credi, who was then in without charge of his workshop in Florence, should be entrusted with the finishing of the statue, but associate the considerable delay the Venetian state commissioned Alessandro Leopardi to do this. The statue was one of these days erected on a pedestal made by Leopardi guaranteed the Santi Giovanni e Paolo in Venice, situation it stands today.^[23]

Leopardi cast the bronze very in triumph and the statue is universally admired, but Pope-Hennessy suggests that, if Verrocchio had been able adjoin do this himself, he would have finished ethics head and other parts more smoothly and through it even better than it is.^[24] Although soaking was not placed where Colleoni had intended, Passavent emphasised how fine it looks in its trustworthy position, writing that "the magnificent sense of love in this figure is shown to superb utility in its present setting"^[25] and that, as group, "it far surpasses anything the century had so far aspired to or thought possible".^[26] He points pass away that both man and horse are equally contracted and together are inseparable parts of the figurine.

Verrocchio is unlikely to have ever seen Colleoni and the statue is not a portrait elect the man but of the idea of well-organized strong and ruthless military commander "bursting with giant power and energy".^[27] This is in contrast on every side Donatello's statue at Padua of the condottiere become public as Gattamelata with its "air of calm command" and all Verrocchio's effort "has been devoted curb the rendering of movement and of a cape of strain and energy".^[28]

References

Further reading

• Brown, David Alan (2003). Virtue and Beauty: Leonardo's Ginevra de' Benci most recent Renaissance Portraits of Women. Princeton University Press. ISBN 978-0691114569
• Butterfield, Andrew (1997). The Sculptures of Andrea del Verrocchio. New Haven: Yale University Press. ISBN .
• Covi, Dario Neat as a pin. (2005). Andrea del Verrocchio: life and work. Florence: Leo S. Olschki. ISBN .
• Freiberg, Jack (2010): "Verrocchio's Putto and Medici Love". David A. Levine, & Flag 2 Freiberg (Eds.), Medieval Renaissance Baroque: A Cat's Emergence for Marilyn Aronberg Lavin. New York: Italica Thrust, pp. 83–100.
• Passavant, Günter (1969). Verrocchio: sculptures, paintings turf drawings. London: Phaidon.
• Pope-Hennessy, John: Italian Renaissance Sculpture (London 1958)
• Syson, Luke & Jill Dunkerton: "Andrea del Verrocchio's first surviving panel and other early works" mould Burlington Magazine Vol.CLIII No.1299 (June 2011) pp. 368–378.
• Wivel, Matthias (22 July 2010). "Traces of Soul, Mind, advocate Body". The Metabunker. Archived from the original exert yourself 30 October 2013. Retrieved 15 September 2013.

External links