Antonio and Piero Del Pollaiuolo: "Silver and Gold, Painting and Bronze..."From Di Lorenzo, Andrea (EDT)/ Galli, Aldo (EDT)
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Antonio and Piero Del Pollaiuolo: "Silver and Gold, Painting and Bronze..."From Di Lorenzo, Andrea (EDT)/ Galli, Aldo (EDT)
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The art of the Pollaiolo brothers, protagonists of the 15th-century artistic scene, in a volume accompanying the exhibition that gathers for the first time the four Portrait of a Lady paintings from Milan, Berlin, New York and Florence.
Antonio and Piero Del Pollaiuolo: "Silver and Gold, Painting and Bronze..."From Di Lorenzo, Andrea (EDT)/ Galli, Aldo (EDT)- Amazon Sales Rank: #580802 in Books
- Brand: Di Lorenzo, Andrea (EDT)/ Galli, Aldo (EDT)
- Published on: 2015-03-10
- Released on: 2015-03-10
- Original language: English
- Number of items: 1
- Dimensions: 11.99" h x 1.18" w x 8.57" l, .81 pounds
- Binding: Hardcover
- 288 pages
About the Author Aldo Galli is professor of modern art history at Trento University. Andrea Di Lorenzo is the conservator of the Poldi Pezzoli museum in Milan.
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Most helpful customer reviews
1 of 1 people found the following review helpful. Antonio and Piero del Pollaiuolo: The Museo Poldi Pezzoli Exhibition By Kenneth Hughes The original Italian title of this exhibition and catalogue is more descriptive and accurate than the English: “Le Dame dei Pollaiolo. Una bottega fiorentina del Rinascimento”—“The Pollaiuolo Women: A Florentine Workshop of the Renaissance.” (Both variants of their name, with and without the “u,” have been in use since their own days.) The fact is that the exhibition, at the Museo Poldi Pezzoli in Milan from November 2014 until February 2015, was the first time in the 530 to 550 years since their creation that all four of the Pollaiuolo paintings called “Portrait of a Young Woman” were brought together, and the still controversial issue—which of the Pollaiuolo brothers contributed what—underscores the collaborative, “workshop” nature of so much of their production. The traditional view of their collaboration, based on Vasari’s account in his “Lives” of 1550 and 1568 (the 1568 version is reprinted in the volume in the original Italian) and transposed to the twentieth century by Bernard Berenson in his highly influential “Drawings of the Florentine Painters” of 1903, has been that the elder brother, Antonio, was the creative genius and consummate painter of the famous pictures, and that Piero, the younger, was little more than an artistic sidekick and workshop assistant. Subsequent connoisseurship has greatly modified that interpretation, with various art historians attributing some of the paintings to Piero and others apportioning and reapportioning them in different ways. Andrea Di Lorenzo and Aldo Galli, the catalogue’s two editors, are among the most authoritative scholars of the Pollaiuolo canon, and they take here the quite radical position of deattributing from Antonio virtually all the famous paintings, including all the “Portraits,” and giving them to Piero. The Antonio they leave us with is still the more brilliant designer and the great sculptor, but an artist who did not much more than dabble in painting as a sideline, and that mostly in his younger days. These points are argued very persuasively in their essay contributions to the volume, which look at their lives and works in the context of their own times and at their reputations among their contemporaries, i.e., prior to Vasari’s work and the permutations of the ensuing scholarship. The essays are well written in a quite lively style and have been excellently translated. That is true also of the contribution of Elisa Tosi Brandi, who analyzes the “Portraits” in relation to the reigning matrimonial traditions (the paintings are most likely commemorative of the young women’s marriages) and presents much fascinating material on the importance of clothing and jewelry in those traditions and how closely Florentine artists were involved in such matters—and here one is reminded that the “renaissance” in art was propelled chiefly by sculptors, many of whom had started out, like Antonio, as goldsmiths who, as makers and remodelers of treasured family jewels, were vitally important to this culture. There are also three short essays of a technical nature: on research into and conservation of the famous embroideries Antonio designed for the vestments in the Florence Baptistery; the examination by x-radiography and infrared reflectology of Piero’s “Apollo and Daphne”; and on the restoration of his “The Coronation of the Virgin” in San Gimignano.The heart of the volume is its second half, the excellent reproductions of the twenty-seven exhibition items, which include some niello work of Maso Finiguerra and his workshop (a powerful influence on Antonio); the magnificent cross of engraved, embossed and cast silver with translucent enamels that Antonio created with Betto di Francesco in 1457-59; drawings, sculpture, and engraving of Antonio (the famous “Battle of the Ten Nudes”); his embroidery designs for the vestments and a couple of his small Hercules paintings and Hercules bronzes; and the major drawings and paintings of Piero. It is obvious from that brief list that Antonio was by far the more versatile artist, marble being apparently the only major medium in which he did not work. All these pieces are given beautiful full-page reproductions and an extended signed and annotated commentary (usually of about four or five pages) with a dedicated bibliography and illustrations that regularly include enlargements of important details and useful comparison images. Much of the discussion in the commentaries deals with questions of dating, commissioning and such like, although intrinsically aesthetic matters like coloration, composition, conturing, etc. are necessarily engaged in decisions about attribution, autography, and the artists’ stylistic development. I should emphasize that this is a profusely illustrated catalogue; the scholarly essays of the first half themselves are so replete with images that they have only occasional full pages of text. This is a beautifully designed and printed volume displaying all the high standards of the Skira publishers. Unfortunately, there is no index of any sort, which renders it virtually useless as a reference tool, although the organization of the material and its compact focus make the text at least somewhat "skimmable." For scholars it will be a necessary acquisition because of the wholesale reattribution of numerous major works, but non-scholarly aficionados of the Italian Renaissance will also want to take note of it; it is the first substantial work on the Pollaiuolos since Alison Wright’s monograph of 2005; it is an important and welcome addition to the literature on Florence in the quattrocento and highly recommended.
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