File:Antonio Pollaiuolo (1907) (14765040255).jpg

Identifier: antoniopollaiuol00crut (find matches)
Title: Antonio Pollaiuolo
Year: 1907 (1900s)
Authors: Cruttwell, Maud
Subjects: Pollaiolo, Antonio, 1426?-1498 Pollaiolo, Piero, ca. 1443-1496
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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hroughwhich the stream winds like a snake till it is lost in thepale blue of the sky. The city with its cupola andtowers is visible between the arms of the figures. Thecolour is pitched in a higher key than either of theforegoing paintings, and the tints of pale blues andgreens in landscape and sky are exquisite. The Journey of Tobias was a favourite subject withthe Florentine merchant and was often dedicated as avotive picture on the departure of his son for foreigncountries. Thus the connection with the MerchantsChurch of Or S. Michele is obvious. Like the Laboursof Hercules, Antonio has made the theme his own,either through this or some lost painting, for most ofthe pictures of the subject show traces of his influence.Among the best of these is the fine panel—Tobiaswith the three Archangels—No. 24 of the Accademia,Florence, officially attributed to Botticelli and by latercriticism to Francesco Botticini, which, though thefigures bear equal traces of Verrocchios influence, shows
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H < Oh< < D O o <O Oh o ^ w ;^^ Oh PAINTINGS WITH PIERO 97 in the composition and landscape the strongestreminiscence of the Turin painting. Another workshowing the influence of both Masters is the panel No.781 of the National Gallery. The left hands of theArchangel and Tobias might have been copied fromthose in the Turin painting, and have the structurepeculiar to Piero—broad in the palm with the thumbinclined to curve backward. A very unequal work almost entirely by the hand ofPiero is the Annunciation^ No. 73 of the KaiserFriedrich Museum, Berlin * (Plate XV.). Judging bythe superiority of the painting it must be placed at alater date than either of the foregoing, probably nearerto 1470, the year of the Mercatanzia Virtues, which itclosely resembles. In the Catalogue it is attributed toPiero alone, yet it is probable that Antonio furnishedpart of the design, and that he aided his brother in thebeautiful and characteristic landscape. The paintingwas most likely execute

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