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To him, too, he owed his masterpiece, the 'Femme en violet et en jaune', but the restless seeker did not adhere to that style. Italy and the Florentines next influenced him, just those the most opposed to Velasquez; the Pollajuoli, Andrea del Castagna, Paolo Uccello and Pier delta Francesca.
To him, too, he owed his masterpiece, the 'Femme en violet et en jaune', but the restless seeker did not adhere to that style. Italy and the Florentines next influenced him, just those the most opposed to Velasquez; the Pollajuoli, Andrea del Castagna, Paolo Uccello and Pier delta Francesca.
To him, too, he owed his masterpiece, the 'Femme en violet et en jaune', but the restless seeker did not adhere to that style. Italy and the Florentines next influenced him, just those the most opposed to Velasquez; the Pollajuoli, Andrea del Castagna, Paolo Uccello and Pier delta Francesca.
Niccola Pisano Obscurity of the Sources for a History of Early Italian Sculpture Vasari's Legend of Pisano Deposition from the Cross at Lucca Study of Nature and the Antique Sarcophagus at Pisa Pisan Pulpit Niccola's School Giovanni Pisano Pulpit in S. Andrea at Pistoja Fragments of his work at Pisa Tomb of Benedict XI. at Perugia Bas-reliefs at Orvieto Andrea Pisano Relation of Sculpture to Painting Giotto Subordination of Sculpture to Architecture in Italy Pisano's Influence in Venice Balduccio of Pisa Orcagna The Tabernacle of Orsammichele The Gates of the Florentine Baptistery Competition of Ghiberti, Brunelleschi, and Della Quercia Comparison of Ghiberti's and Brunelleschi's Trial-pieces Comparison of Ghiberti and Della Quercia The Bas-reliefs of S. Petronio Ghiberti's Education His Pictorial Style in Bas-relief His Feeling for the Antique Donatello Early Visit to Rome Christian Subjects Realistic Treatment S. George and David Judith Equestrian Statue of Gattamelata Influence of Donatello's Naturalism Andrea Verocchio His David Statue of Colleoni Alessandro Leopardi Lionardo's Statue of Francesco Sforza The Pollajuoli Tombs of Sixtus IV. and Innocent VIII. Luca della Robbia His Treatment of Glazed Earthenware Agostino di Duccio The Oratory of S. Bernardino at Perugia Antonio Rossellino Matteo Civitali Mino da Fiesole Benedetto da Majano Characteristics and Masterpieces of this Group Sepulchral Monuments Andrea Contucci's Tombs in S. Maria del Popolo Desiderio da Settignano Sculpture in S. Francesco at Rimini Venetian Sculpture Verona Guido Mazzoni of Modena Certosa of Pavia Colleoni Chapel at Bergamo Sansovino at Venice Pagan Sculpture Michael Angelo's Scholars Baccio Bandinelli Bartolommeo Ammanati Cellini Gian Bologna Survey of the History of Renaissance Sculpture.
The laws of perspective and foreshortening were worked out by Paolo Uccello and Brunelleschi. New methods of colouring were attempted by the Peselli and the Pollajuoli. Abandoning the conventional treatment of religious themes, the artists began to take delight in motives drawn from everyday experience.
Criticised in detail, each separate figure may be faulty. The composition, as a whole, is picturesque and grandiose. The same can scarcely be said about the tomb of Innocent VIII., erected by Antonio and his brother Piero del Pollajuolo. While it perpetuates the memory of an uninteresting Pontiff, it has but little, as a work of art, to recommend it. The Pollajuoli were not great sculptors.
Much that is repulsive in the pictures of the Pollajuoli and Andrea del Castagno, the leaders in this branch of realism, is due to admiration for the newly studied mechanism of the human form. They seem to have cared but little to select their types or to accentuate expression, so long as they were able to portray the man before them with fidelity.
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