From the late 1470s to his death, Verrocchio devoted most of his time to designing and casting the colossal bronze equestrian monument to Bartolomeo Colleoni.
Verrocchio is also the probable candidate for many drawings completed during the 1460s and 1470s in Florence, but art historians cannot come to an agreement about the actual date and creator of these drawings.
Andrea del Verrocchio was born in 1435 to a brick maker named Michele di Francesco Cioni.
Printers established shops in centers of commerce where the demand for books was high and supplies were accessible.
Italy quickly became a center for printing with prominent shops operating in Rome and Venice in the early 1470s.
By 1500, the proliferation of printers had nearly saturated smaller commercial centers throughout the continent and printing became an established profession.
The Nativity(Site not responding. Last check: 2007-11-07)
This panel is probably a work of the 1470s.
Many of the finer details were never painted or have been rubbed off, and preparatory drawing is evident where the paint is thin (notably in Joseph's cloak).
Her face, no less than the oil technique, suggests Piero's study of Netherlandish painting.
Jean K. Cadogan: Domenico Ghirlandaio: Artist and Artisan.(Book Review) - HighBeam Encyclopedia(Site not responding. Last check: 2007-11-07)
The frescoes of the 1470s point to the use of perforated cartoons for individual figures, but only for individual figures, for there are no indications of any cartoons or preparatory drawings in which setting--whether landscape or architecture--and figures are unified into an overall composition.
Cadogan thus sees in the sinopias of the 1470s (Vespucci Chapel) the function of a modello on the wall, also serving to unite the individually prepared figures into a composition and at the same time sketch out the setting.
For all the schematic similarity to the detail in the sinopia for the Lamentation of the Vespucci Chapel, the formation of the head is closer to the heads of the Apostles in the Last Supper at Ognissanti.
In the early 1470s Tinctoris travelled to Naples, perhaps drawn partly by the reputation for law of the University there, to enter the service of King Ferdinand I (Ferrante) as singer-chaplain, legal adviser and court tutor in both the theory and practice of music.
The work's original dedicatory letter to Beatrice seems to have remained unrevised since the 1470s, despite the changes to Beatrice's position and status: similar cases of textual fidelity in the face of altered circumstance are observable in the manuscript sources of other treatises.
In the early 1480s Tinctoris embarked on his most ambitious piece of writing, the treatise De inuentione et usu musice; this was a very large-scale treatment of (apparently) the origins and evolution of music, its theological and metaphysical roots and ramifications, and a broad survey of vocal and intrumental practice, as known to the author.
Brown Gothic(Site not responding. Last check: 2007-11-07)
Nicholas Jensons seminal type of the 1470s was a book face, around 16pt in size, and this has been reflected in the majority of Jenson revivals, which tend to have a bookish elegance with plenty of stress contrast.
It was also roughly printed, by subsequent standards, and this too has influenced the appearance of the revivals, which generally sport a graceful patina of distress, drawing attention to the handwritten quality of the early roman types.
Surely an invention that has lasted half a millennium, through numerous generations of technology, is sufficiently device-independent that it doesnt deserve to be shackled with the superficial look of 1470s available technology.
Likewise a portrait of a young aristocratic couple from the mid or late 1460s shows the man wearing a similar cap, although this version tapers a bit more sharply than other acorn caps, and also apparently lack the stalk at the top.
One such cap is portrayed in the Matheron Diptych by Nicolas Froment, a portrait of René d'Anjou and his second wife Jeanne de Laval in their later years.
The fashion for very tall hats seems to have been limited to the 1470s; depictions of the acorn cap after that decade show a return to the more modest heights of the preceding decades.
A progressive relation of the prescriptions of Florentine sumptuary laws from the beginning of the fifteenth century to the 1460s was followed in the 1470s and 1480s by a reaction --possibly to the failures of enforcement of the preceding half-century-- and many fourteenth-century limitations were restored.
In the absence of any clearly explanatory evidence, one might speculate that the crackdown in the 1470s was related to a possible wish on Lorenzo [de' Medici's] part to curb competitive displays by his fellow oligarchs.
In view of the claim that extravagance in female dress cut into the groom's accession of capital, the spate of bank failures that hit many upper-class families hard in the early 1470s might also be seen as relevant.
Many of these forms incorporated visual cues to the identity of the donors, whose constant presence was thus built into the communal experience of the building.
This paper attempts to reconstruct the visual environment of St James’ during the heyday of its construction, the 1470s and 1480s, a time when some of Bruges’ most elite families competed for the rights to install mortuary chapels in the church.
The St Christopher altarpiece is one of the earliest known painted triptychs that includes portraits of the donors’ children, and I argue that for this innovation it is directly dependant on famous the Portinari altarpiece, painted in Bruges in the 1470s, which would have been known by the Moreels through social connections with the Portinaris.
Some stories have Sunan Gunungjati active around the 1470s and 1480s, under the name "Hidayatullah", other stories have him active around the 1520s, and associate him with the name "Fatahillah".
In the 1480s he would have been the grandson of the king of Pajajaran; in the late 1520s he would have fought the Portuguese near what is today Jakarta.
Some have him participating in the construction of the Masjid at Demak in the 1470s; others have him active in the mid-1500s.
Art Critic London(Site not responding. Last check: 2007-11-07)
The naturalism of the 1470s can be found equally in painting, sculpture and goldsmith's work.
The exhibition's curator, Nicholas Penny, makes the fascinating point that certain drapery studies lovingly executed in superfine pencil or metal point, actually depict fabric that has been dipped in slip or liquid gesso, then allowed to stiffen until it becomes a sculptural form.
Constrained, I suppose, by considerations of cost as well as of movability, the show is modest in scale, a teaching exhibition that will add to our appreciation of the National Gallery's collection, not the major international-loan show it could easily have become.
Works like this devout image contrast with the sensuality and luxury denounced by Savonarola.
The gold background is unusual—a little old-fashioned for a painting done in the 1470s.
It is not clear whether the present gilt surface (not original) replaced original gilding or was applied over a now-obliterated landscape, such as seen elsewhere in this room.
In a remote corner of northeastern Peru —embraced by the Marañón river to the west and the north and the Huallaga river to the east— the ancient Chachapoya once held sway over a vast territory, today scattered with the distinctive remains of their trademark cliff tombs and hamlets of circular structures.
Feared warriors and famed shamans, the Chachapoya flourished from around AD 800 until their violent conquest by the Incas in the 1470s.
Today, looters and vandals are engaging archaeologists in a desperate race to save the remains of this great, but little known civilization.
Edward IV had now been king for over a decade, but it was only now, after 1471, that he was able to turn his attention to something other than simply keeping his head on his shoulders.
He still had some dangerous enemies, though, and these did cause some anxious moments in the early 1470s.
Worse, in the mid 1470s, he became obsessed with the idea that Edward was trying to kill him by magic.