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	Antonio del Pollaiuolo article - Antonio del Pollaiuolo 1429 1498 sculptor jeweller painter engraver Saint Sebastian - ... (Site not responding. Last check: 2007-10-15)
		Antonio del Pollaiuolo (1429 - 1498) distinguished himself as a sculptor, jeweller, painter and engraver, and did valuable service in perfecting the art of enamelling.
		The museum of Florence contains the bronze group "Hercules strangling Cacus" and the terracotta bust "The Young Warrior"; and in the South Kensington Museum, London, is a bas-relief representing a contest between naked men.
		In 1489 Antonio took up his residence in Rome, where he executed the tomb of Sixtus IV (1493), a composition in which he again manifested the quality of exaggeration in the anatomical features of the figures.
	www.what-means.com /encyclopedia/Antonio_del_Pollaiuolo (283 words)

	Antonio Pollaiuolo - Wikipedia, the free encyclopedia
		His brother was the artist Piero Pollaiuolo and the two frequently worked together.
		Pollaiuolo's painting exhibits an excess of brutality, of which the characteristics can be studied in the Saint Sebastian, painted in 1475, and now in the National Gallery, London.
		In 1489 Antonio took up his residence in Rome, where he executed the tomb of Pope Sixtus IV (1493), a composition in which he again manifested the quality of exaggeration in the anatomical features of the figures.
	www.wikipedia.org /wiki/Antonio_del_Pollaiuolo (383 words)

	BOYS IN ART - Fight of ten naked youths (Site not responding. Last check: 2007-10-15)
		For one thing, the nakedness of the men is curious, because until then, the display of nudity was part of a scenic context and justified by means of the subject while here, it serves no purpose except possibly the glorification of the human body as it was known in the classic art.
		Antonio Pollaiuolo had studied the anatomy of the human body as thoroughly as no other artist of his period.
		Antonio did not necessarily intend to transform a certain philosophical text into this scenery, since these ideas were part of a general text commonly spread in all artistic expression of his time.
	www.friedrichshainerschule.de /pollaiuolo.htm (476 words)

	Giorgio Vasari - Open Encyclopedia (Site not responding. Last check: 2007-10-15)
		At a very early age he became a pupil of Guglielmo da Marsiglia, a very skilful painter of stained glass, to whom he was recommended by his own kinsman, the painter Luca Signorelli.
		At the age of sixteen Cardinal Silvio Passerini who sent him to study in Florence, in the circle of Andrea del Sarto and his pupils Rosso and Jacopo Pontormo.
		He was elected one of the municipal council or priori of his native town, and finally rose to the supreme office of gonfaloniere.
	open-encyclopedia.com /Giorgio_Vasari (793 words)

	Hercules and Anteus by POLLAIUOLO, Antonio del
		Pollaiuolo's background as goldsmith equipped him to respond to the taste for small bronzes in the last third of the 15th century.
		The Hercules and Anteus demonstrate Pollaiuolo's knowledge of anatomy (from dissecting corpses) and his ability to represent physical and emotional violence.
		The unusual poses of the protagonists correspond to those painted by Pollaiuolo on a panel in the Uffizi, which is related to a larger lost painting for the Medici Palace.
	www.kfki.hu /~arthp/html/p/pollaiol/antonio/sculptur/hercul2.html (124 words)

	Search Encyclopedia.com (Site not responding. Last check: 2007-10-15)
		His son and pupil Antonio Pollaiuolo, 1429?-1498, goldsmith, sculptor, painter, and engraver, became head of one of the foremost Florentine workshops, with many pupils and assistants.
		San Antonio -> Landmarks and Institutions Points of interest include the Alamo; La Villita, the reconstruction of a 250-year-old Spanish-speaking settlement; the Spanish governor's palace (c.1749); the Paseo del Río, a downtown river walk; the Hertzberg Circus Collection; and numerous old homes.
		Tierra del Fuego Tierra del Fuegotyĕ´rä dĕl fwā´gō, [Span.=land of fire], archipelago, 28,476 sq mi (73,753 sq km), off S South America, separated from the mainland by the Strait of Magellan.
	www.encyclopedia.com /searchpool.asp?target=Antonio+del+Pollaiuolo (504 words)

	The Frick Collection : Sculpture : Pollaiuolo : Hercules (Site not responding. Last check: 2007-10-15)
		Its rough state has prompted speculation that it was cast from a damaged wax model, perhaps one that was left unfinished in the sculptor's studio at his death.
		Freestanding bronze statuettes began to be developed fully as an art form during the second half of the fifteenth century; Pollaiuolo was an early, influential master of the genre.
		Pollaiuolo’s Hercules is one of the first statuettes deliberately designed to be regarded from several specific points of view.
	www.frick.org /html/spolla1.htm (405 words)

	LOS ARTISTAS (Site not responding. Last check: 2007-10-15)
		Fue precursor de Tiépolo, del siglo siguiente, por sus abiertas y luminosas composiciones.
		Felipe IV quedó prendado del artista y le nombró pintor de corte a la edad de veinticuatro años convirtiéndose en el más prestigioso pintor del país.
		A partir de entonces abandonó el tema del bodegón y aunque pintó temas religiosos y mitológicos e históricos, se convirtió esencialmente en retratista en cuya tarea humanizó la tradición del retrato de corte tradicional, dotando a sus modelos de vida y carácterización psicológica.
	www.pntic.mec.es /eos/MaterialesEducativos/mem2000/mitologia/Mitologia/artistas.htm (4480 words)

	Pollaiuolo, Antonio del and Piero del -- Encyclopædia Britannica
		The Pollaiuolo brothers had significant influence on the development of Florentine art, and their workshop is regarded as one of the most important in Florence during the late 15th century.
		Italian tenor Mario Del Monaco was an international operatic star with one of the most powerful voices of his generation.
		A Cuban poet, Julián del Casal was one of the most important forerunners of the modernist movement in Latin America.
	www.britannica.com /eb/article-9060644 (782 words)

	CMA Exhibition Feature : Pollaiuolo's Battle of the Nudes (Site not responding. Last check: 2007-10-15)
		Pollaiuolo showed exceptional skill in his imaginative adaptations of poses derived from antique sarcophagi and other ancient sculpture.
		Its impact on other artists work is evident in their references to the dynamic poses, anatomical explicitness and expressive character of Pollaiuolo's figures.
		A considerable part of Pollaiuolo's intention was to demonstrate his capacities as a master draftsman of the figure, while exploring the potential of the new printmaking medium - a medium well suited to his skills as a metalworker and goldsmith.
	cma.org /exhibcef/battle/html/2403706.html (279 words)

	Antonio del Pollaiuolo
		The family name of Antonio and Piero was actually Benci, but as often occurred their adopted name was derived from their father's business which was that of a poulterer.
		Antonio and Piero appeared to work collaboratively and remains difficult to discern which parts of these projects were completed by which artist.
		Antonio became the master preferred by Lorenzo the Magnificent as he recognised the inventiveness of this scientific approach.
	art.mlc.vic.edu.au /intranet/renaissance/artistspages/pollaiuolo/pollaiuolo.cfm (644 words)

	Antonio del Pollaiuolo - netlexikon
		Antonio del Pollaiuolo, auch Pollajuolo, (* um 1431 in Florenz; † 1498 in Rom) war ein italienischer Bildhauer, Kupferstecher und Maler.
		Bücher zum Stichwort "Antonio del Pollaiuolo" bei Amazon.de
		Artikel zum Stichwort "Antonio del Pollaiuolo" bei Ebay.de
	www.lexikon-definition.de /Antonio-del-Pollaiuolo.html (217 words)

	CMA Exhibition Feature : Photo Credits
		Pollaiuolo, Battle of the Nudes, CMA first-state impression, overall view of engraving taken with strong raking light with tears, side inserts, and collotype fill enhanced.
		Pollaiuolo, Battle of the Nudes, CMA first-state impression, overall view of verso taken with strong raking light with tears enhanced.
		Pollaiuolo, Battle of the Nudes, CMA first-state impression, overall view of verso taken with strong raking light with tear repairs and all edge fills enhanced.
	www.clemusart.com /exhibcef/battle/html/7538362.html (1893 words)

	onlinekunst.de: Antonio Benci genannt Antonio del Pollaiolo und Piero Benci, genannt Piero del Pollaiolo
		onlinekunst.de: Antonio Benci genannt Antonio del Pollaiolo und Piero Benci, genannt Piero del Pollaiolo
		Antonio Benci, detto Antonio del Pollaiolo e Piero Benci, detto Piero del Pollaiolo,
		POLLAIOLO, Antonio del (Antonio Benci) Museo Nazionale del Bargello, Florence Hercules - Bronze
	www.onlinekunst.de /januar/17_01_2_Pollaiuolo.htm (216 words)

	Marianna Gelussi - Epifanie del Satiro danzante (Site not responding. Last check: 2007-10-15)
		Antonio del Pollaiolo dunque, nella pittura murale, nella restituzione dei moti corporei dei suoi danzatori, assimila completamente il linguaggio della scultura antica, ma i baccanti sulla parete di Arcetri non appaiono più nel loro aspetto ‘originale’, segnatamente ‘antico’.
		Antonio del Pollaiolo, dovendo rappresentare ad Arcetri una danza ‘all’antica’ entusiastico-dionisiaca, ricorre dunque al linguaggio corporeo della classicità, alle movenze di una danza antica.
		Antonio del Pollaiolo nel suo danzatore di Arcetri perpetua la memoria di una figura tipologica ‘all’antica’, riutilizzata come Pathosformel della danza estatica già nel passato: una figura di repertorio, tramandata in più varianti e disponibile, già nel Quattrocento, in vari materiali.
	bscw.iuav.edu /pub/bscw.cgi/d189734-4///rivista/saggio/28/028_gelussi_satiro.htm (1572 words)

	artnet.com: Resource Library: Antonio di Niccolò di Lorenzo (Site not responding. Last check: 2007-10-15)
		Antonio di Niccolò di Lorenzo’s interest in larger-scale works—frescoes or panel paintings—is apparent from his repeated depiction, especially in border decoration, of metal objects, individually characterized interiors, portraits and contemporary fashions.
		Stylistic affinities between Antonio and Francesco di Antonio del Chierico have sometimes led to confusion between their work; however, enough of Antonio’s works have been traced to distinguish him substantially from the del Foro bottega, Giovanni Boccardi and many other illuminators.
		Antonio is known primarily for the documented graduals (1473–5; Florence, Bib.
	www.artnet.com /library/00/0033/T003317.asp (444 words)

	CMA Exhibition Feature : Battle of the Nudes: Pollaiuolo's Renaissance Masterpiece (Site not responding. Last check: 2007-10-15)
		Pollaiuolo (poh-LYE-you-oh-loh) was a renowned goldsmith, sculptor, painter and draftsman of the Italian Renaissance.
		In this exhibition, the Battle of the Nudes is presented in the context of related prints, drawings, sculptures and a painting, by Pollaiuolo and some of his contemporaries.
		The museum visitor is invited to examine the stylistic and historical framework in which the engraving was conceived.
	cma.org /exhibcef/battle/html (140 words)

	Dictionary of Meaning www.mauspfeil.net
		In 1489 Antonio took up his residence in Rome, where he executed the tomb of pope Sixtus IV Sixtus IV (1493), a composition in which he again manifested the quality of exaggeration in the anatomical features of the figures.
		He died having just finished his mausoleum of pope Innocent VIII Innocent VIII, and was buried in the church of San Pietro in Vincoli, where a monument was raised to him near that of Piero del Pollaiuolo his brother.
		There you find a list of all editors and the possibility to edit the original text of the article Antonio del Pollaiuolo.
	www.mauspfeil.net /Antonio_del_Pollaiuolo.html (321 words)

	Art Critic London (Site not responding. Last check: 2007-10-15)
		The three most prominent Florentine workshops were headed by Andrea del Verrocchio, Sandro Botticelli, and the brothers Piero and Antonio del Pollaiuolo.
		In this decade too we find Antonio del Pollaiuolo's exquisite figure of Judith, significant because the refined casting and chasing look forward to a sculptural form associated not with the reign of Lorenzo the Magnificent, but with that of his great grandson, Cosimo I de' Medici, patron of Giambologna and Cellini.
		Even in works such as Antonio del Pollaiuolo's famous engraving Three Fighting Men or his bronze statuette of Judith there is little evidence of the grandeur that will enter into Florentine art with the work of Michelangelo.
	www.theartnewspaper.com /artcritic/level1/reviewarchive/1999/jan_27_1999_main.html (1066 words)

	Hercules of the Renaissance (Site not responding. Last check: 2007-10-15)
		This painting is also done by Antonio del Pollaiuolo and isfound in the Uffizi Gallery, Florence.
		Although del Pollaiuolo is an actualsculptor, he has a similar approach to painted figures.
		It is done by Antonio del Pollaiuolo and is found in the Uffizi Gallery, Florence.
	www.personal.psu.edu /users/a/j/aja148/renaissance.html (800 words)

	Pollaiuolo, Antonio del and Piero del -- Britannica Concise Encyclopedia - The online encyclopedia you can trust!
		The brothers received the name of Pollaiuolo because their father was alleged to have been a poulterer (from pollaio, “hen coop”), though he was probably a goldsmith.
		Antonio learned goldsmithing and metalworking from either his father or Andrea del Castagno.
		Antonio Pollaiuolo is recognized individually as a superb draftsman whose mastery of line is best exemplified in his renderings of the human figure in motion; he was among the first artists to practice anatomical dissection in the study of the human form.
	www.britannica.com /ebc/article-9060644 (1081 words)

	Apollo: New copies by Leonardo after Pollaiuolo and Verrocchio and his use of an ecorche model: some notes on his ...
		If the reconstruction of this model is accepted, then it must be considered as the archetype of all successive ecorche models or scorticati, which played such an important role in the teaching of human anatomy to artists from the sixteenth century to the beginning of the twentieth.
		More specifically, it is important to note that Leonardo borrowed from Pollaiuolo his characteristic diagrammatic rendering of kneecaps and continued to employ this schema in nearly all of his leg studies.
		Subsequent students of Pollaiuolo have pointed out that his characteristic reuse of figural poses, studied from various angles, can be explained by his use of sculptural models; more recently, however, this view has been challenged.
	www.findarticles.com /p/articles/mi_m0PAL/is_503_159/ai_112540504 (1442 words)

	Hercules and Antaeus by POLLAIUOLO, Antonio del
		In pendant with the Hercules and the Hydra this little wood was maybe a decorative panel of furnishing: it had probably to reproduce the subject painted on large canvas in a room of the Florentine Medici palace at the time of Lorenzo the Magnificent.
		The struggle of Hercules against the giant Antaeus was an iconographical theme proper for Antonio del Pollaiuolo's style, suitable to express dynamic tension of limbs and muscles, as well as the anatomical study of human body.
		Hercules, the tutelary deity of Florence, the symbol of supreme civil virtues, the typical Florentine hero, is represented here in a fierce struggle which captures not only the movement of the bodies, but also the nervous tension of every muscle and the faces twisted into expressions of fatigue and horror.
	www.kfki.hu /~arthp/html/p/pollaiol/antonio/hercul1.html (171 words)

	onlinekunst.de: COMPUTERGARTEN am 17. Januar - Künstler Antonio Pollaiuolo und Piero Pollaiuolo
		Beim Studium der Kunstbücher fällt auf, daß oft nur der ältere, Antonio, erwähnt wird.
		Beenden muß Antonio die Arbeit ohne den Bruder Piero, der 1496 stirbt.
		Antonio vollendet das Werk und stirbt kurz darauf im Alter von 66 Jahren.
	www.onlinekunst.de /januar/17_01_Pollaiuolo.htm (392 words)

	Pathosformeln estatiche dipinte a Villa la Gallina ad Arcetri (Antonio del Pollaiolo, 1460-75)
		I ‘tipi’ ripresi da Antonio del Pollaiolo ricorrono sistematicamente all’interno delle decorazioni dei sarcofagi dionisiaci, la cui composizione avveniva come una sorta di collage di figure ‘standard’ tratte da un repertorio fisso ‘di bottega’ e riprodotte serialmente.
		Frieze of Nude Dancers, in The Mural painters of Tuscany from Cimabue to Andrea del Sarto, Oxford 1980, pp.
		Raimond Van Marle, Antonio and Piero del Pollaiuolo and their Followers, in The development of the Italian schools of painting, XI, The Hague 1929, p.
	www.engramma.it /rivista/saggio/italiano/novembre02/saggiocompleto.html (481 words)

	Antonio Pollaiolo Online
		Antonio Pollaiolo at the National Gallery of Art, Washington D.C. Battle of the Nudes, ca.1470/75
		Antonio Pollaiolo at the National Gallery, London, UK Apollo and Daphne
		All images and text on this Antonio Pollaiolo page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/pollaiolo_antonio.html (160 words)

	Artistas del Renacimiento
		A continuacion presentamos a los artistas italianos más destacados del renacimiento, sus vidas y una de sus obras más importantes.
		En ella se nota la influencia del pintor florentino Cimabue en la composición y en el estilo, pero es única en cuanto a la humanización del rostro de la Virgen.
		Como integrante del brillante círculo intelectual y artístico de la corte de Lorenzo de Medici, Botticelli recibió la influencia del neoplatonismo cristiano de ese círculo, que pretendía conciliar las ideas cristianas con las clásicas.
	html.rincondelvago.com /artistas-del-renacimiento.html (2417 words)

	Antonio_del_Pollaiuolo (Site not responding. Last check: 2007-10-15)
		Er lernte bei seinem Vater das Goldschmiedehandwerk, mit seinem Bruder Piero teilte er zeitweise die Werkstatt.
		Er war - ebenso wie Andrea del Verrocchio - als Goldschmied, Medailleur, Erzgießer und Maler tätig.
		Als Erzgießer schuf Pollaiuolo, 1484 von Papst Innocenz VIII.
	www.kraeuter-und-gewuerze.de /Antonio_del_Pollaiuolo (213 words)

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