The ball was struck by lightning and fell on 27 January 1601 but was reconstructed in 1602. Verrocchio made a model of his proposed sculpture using wood and black leather, while the others made models of wax and clay. [15], Also in 1468 he contracted to make a golden ball (palla) to be placed on top of the lantern of Brunelleschi's cupola on the Duomo in Florence. https://fr.wikipedia.org/w/index.php?title=David_(Verrocchio)&oldid=159266952, Œuvre conservée au musée national du Bargello, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. On s’en remet finalement au jugement de Laurent de Médicis qui tranche en faveur de Verrocchio aux dépens de Piero Pollaiuolo. Elle est conservée au musée du Bargello à Florence. À la mort de Donatello, il devient le sculpteur en titre des Médicis pour lesquels il réalise le tombeau en bronze et en porphyre de Pierre et Jean de Médicis (Basilique San Lorenzo de Florence, 1472), le David de bronze (musée national du Bargello, Florence), le Génie ailé (1479) de la fontaine du Palazzo Vecchio, une Résurrection en terre cuite peinte (musée du Bargello, initialement à la Villa Careggi) et d’autres travaux (fontaines, restaurations d’antiques, accessoires de scénographie). 83–100. Il est difficile de se faire une idée exacte du projet de Verrocchio puisque tout le monument a été remanié en 1753 par le sculpteur baroque Gaetano Masoni, même si le modèle en terre cuite conservé au Victoria and Albert Museum de Londres en donne un aperçu. 48–51 & 188. D’après une nouvelle d’Anton Francesco Grazzini écrite vers 1550, il se situe via del Garbo. Son père est briquetier (fornacio) puis collecteur d’impôt. Un article de Wikipédia, l'encyclopédie libre. He died in Venice in 1488. [9], A painting of the Madonna with seated child in tempera on panel (now in the Berlin State Museums, Gemäldegalerie) is considered an early work of 1468–1470. Andrea is also the several generation grandfather of Italian entrepreneur, Paul M. Verrochi. The statue was eventually erected on a pedestal made by Leopardi in the Santi Giovanni e Paolo in Venice, where it stands today.[24]. L'espace est occupé de manière complexe et sollicite divers points de vue de la part du spectateur. At the end of his life, Verrocchio opened a new workshop in Venice, where he was working on the statue of Bartolomeo Colleoni, leaving the Florentine workshop in charge of Lorenzo di Credi. Voyant que son élève le dépassait sans conteste dans cet art, il décida de se consacrer dorénavant à la seule sculpture. The relief for the funerary monument of Francesca Tornabuoni for Santa Maria sopra Minerva in Rome is also now in the Bargello at Florence. Leopardi cast the bronze very successfully and the statue is universally admired, but Pope-Hennessy suggests that, if Verrocchio had been able to do this himself, he would have finished the head and other parts more smoothly and made it even better than it is. Andrea del Verrocchio (1435-1488) - Man van Smarten - Szépművészeti Múzeum Boedapest 21-06-2014 13-39-59.JPG 2,440 × 3,976; 4.39 MB. Notices dans des dictionnaires ou encyclopédies généralistes, (Musée de la fabrique de la cathédrale, Florence), Les œuvres de Verrocchio aux Offices de Florence, https://fr.wikipedia.org/w/index.php?title=Andrea_del_Verrocchio&oldid=174742934, Peintre italien de la première Renaissance, Article de Wikipédia avec notice d'autorité, Page pointant vers des bases relatives aux beaux-arts, Page pointant vers des dictionnaires ou encyclopédies généralistes, Catégorie Commons avec lien local identique sur Wikidata, Portail:Biographie/Articles liés/Peinture, Portail:Biographie/Articles liés/Culture et arts, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. Il eut pour élèves Francesco Botticini, Le Pérugin, Léonard de Vinci, et Lorenzo di Credi. Il peint plusieurs œuvres importantes telles que Le Baptême du Christ qui est réalisé en dix ans avec l'aide de son apprenti, Léonard de Vinci. La tête du géant Goliath à ses pieds, David se dresse victorieux en une pose fière et élégante, légèrement penchée vers la droite, équilibrée par le bras posé sur la taille et la tête tournée vers la gauche. Verrochio had been at work in the Funerary Monument to Cardinal Niccolo Forteguerri, Pistoia, when he departed for Venice in 1483. Son atelier était alors (avec celui des frères Pollaiolo) le plus important de Florence. L'œuvre est citée dans le catalogue rédigé par Tommaso Verrocchi en 1495 parmi celles réalisées par l'artiste pour les Médicis, en particulier pour les frères Laurent et Julien. Verrocchio was born in Florence in around 1435. New York: Italica Press, pp. Despite the importance of Verrocchio's workshop in the training of younger painters, very few paintings are universally recognised as his own work and there are many problems of attribution. [11], A small painting on panel of Tobias setting out on his journey with the Archangel Raphael, carrying the fish with which he was to heal his father's blindness, was probably painted as a private devotional picture. In 1479 the Republic announced that it would accept the legacy, but that (as statues were not permitted in the Piazza) the statue would be placed in the open space in front of the Scuola San Marco. Three sculptors competed for the contract, Verrocchio from Florence, Alessandro Leopardi from Venice and Bartolomeo Vellano from Padua. ), Medieval Renaissance Baroque: A Cat's Cradle for Marilyn Aronberg Lavin. Also in 1468 he contracted to make a golden ball (palla) to be placed on top of the lantern of Brunelleschi 's cupola on the Duomo in Florence. The work was placed in position in 1483 and "has been acclaimed since the day of its unveiling and almost without exception recognised as a masterpiece. Il y travaille jusqu’à sa mort à la statue du Colleone, le monument équestre érigé en l’honneur du condottiere Bartolomeo Colleoni sur le campo del Santi Giovanni e Paolo devant la Scuola San Marco . 075 le vite, andrea verrocchio.jpg 255 × 300; 24 KB. As Covi says, the problem was resolved "in a most felicitous manner". Le doux modelé, les précisions anatomiques et la psychologie des figures sont les principaux éléments que Verrocchio a transmis à son plus illustre élève Léonard de Vinci qui, selon la tradition, aurait servi de modèle. In 1467 the Tribunale della Mercanzia, the judicial organ of the Guilds in Florence, commissioned from Verrocchio a bronze group portraying Christ and St. Thomas for the centre tabernacle, which the Tribunale had recently purchased, on the east facade of Orsanmichele to replace a statue of St. Louis of Toulouse, which had been removed. Andrea del Verrocchio (eredeti neve Andrea di Michele di Francesco de’ Cioni), (1435, Firenze – 1488, Velence) olasz szobrász, ötvös és festő.. Apja téglaégető volt. The lavabo has not always been accepted as his work. Il est souvent affirmé que cette œuvre a été sa dernière peinture. Several great artists like Leonardo da Vinci and Lorenzo di Credi passed through his workshop as apprentices. Il reçut un nombre important de commandes de Laurent de Médicis, dit le Magnifique, tenant auprès de lui le rôle que Donatello avait joué auprès de Cosme l'Ancien. Il tient l'épée de sa main droite dirigée vers l'extérieur. [20], At a date unknown (suggestions range from 1465 to 1480: Pope-Hennessy said about 1470) he finished in bronze a Putto (winged boy) with Dolphin, originally intended for a fountain in the Medici villa of Careggi and later brought to Florence for a fountain in the Palazzo della Signoria by the Grand Duke Cosimo de' Medici. [29], Portrait of Verrocchio by Nicolas de Larmessin. This page was last edited on 17 October 2020, at 05:40. [5] Giovanni Santi records that Botticelli, Luca Signorelli, and a young Filippino Lippi also visited or worked in Verrocchio's studio. La commande que reçoit Verrocchio pour l’église Orsanmichele montre l’estime dans laquelle il est tenu. The ball was ingeniously made of sheets of copper soldered together and hammered into shape and then gilded. « Il trouve la solution, écrit Charles Avery, en réduisant l'échelle des figures, et en ne conservant que le Christ dans la niche, saint Thomas se tenant légèrement en dessous du podium et se tournant vers le Christ[3].». Media in category "Sculptures by Andrea del Verrocchio" The following 36 files are in this category, out of 36 total. Un article de Wikipédia, l'encyclopédie libre. « On perçoit toutefois, écrit André Chastel, dans la figure du Christ, dans celles des Vertus, la Foi et l’Espérance, dans les silhouettes animées des anges (…) une recherche de suavité et de mouvement qui tend à accroître au maximum l’expression délicate : le thème principal était, comme dans le chef-d’œuvre de Rossellino à San Miniato, mais dans un style plus viril, l’ascension et la béatification de l’âme, son accès au monde angélique[4]. Verrocchio réussit le tour de force de sculpter un groupe de deux personnages malgré l'étroitesse de la niche. La dernière modification de cette page a été faite le 15 septembre 2020 à 14:34. C’est Lorenzetto Lotti qui réalise la statue de la Charité et Giovanni Francesco Rustici, la statue orante du cardinal. It was completed by the spring of 1471. It is an early work which has formerly been attributed to Pollaiuolo and other artists. Andrea del verrocchio (attr. Le David de Verrocchio est une sculpture en bronze de 126 cm de haut et datable de 1472-1475. He therefore had the problem of placing two statues (more than life size) in a tabernacle originally intended for one. It has been suggested that he was trained as a painter under Fra Filippo Lippi. ». Il devient membre de la guilde des sculpteurs en 1469 et membre de la guilde des peintres en 1472. En 1483, Verrocchio part pour Venise. Au début des années 1600, l'œuvre fait partie de la collection granducale aux Offices et vers 1870 elle rejoint avec la majeure partie des sculptures de la Renaissance le Musée national du Bargello. The three models were exhibited in Venice in 1483 and the contract was awarded to Verrocchio. (nyc, coll. [21] It was replaced with a copy by Bruno Bearzi and since 1959 has been kept in a room in the Palazzo Vecchio. (The cross on top was made by other hands). 201–3. The Portrait of Verrocchio.jpg 366 × 488; 63 KB. Beyond this, artists like Domenico Ghirlandaio, Francesco Botticini, and Pietro Perugino were also involved and their early works can be hard to distinguish from works by Verrocchio. Vasari fait aussi référence à cette œuvre et la situe dans la période suivant le séjour à Rome de Verrochhio, … [22], The marble bust of a lady with a bunch of flowers (Dama col mazzolino) in the Bargello at Florence is probably from the later 1470s. C’est là un hommage au David de Donatello. Son père est briquetier (fornacio) puis collecteur d’impôt. Between 1465 and 1467 he executed the funerary monument Cosimo de' Medici for the crypt under the altar of the same church, and in 1472 he completed the monument to Piero and Giovanni de' Medici in the Old Sacristy. En 1476, Laurent de Médicis le vend (pour 150 florins) à la Seigneurie de Florence. michael hall) 01.jpg 3,402 × 3,212; 4.93 MB. Il doit son surnom, Il Verrocchio, à son premier maître, l’orfèvre Giuliano Verrochi. À son départ pour Venise, seules quelques statues ont été exécutées. Covi thinks that it was probably painted with assistance from Ghirlandaio. Passavent pp. [16], In the early 1470s he made a voyage to Rome, while in 1474 he executed the Forteguerri monument for the Cathedral of Pistoia, which he left unfinished. It has been suggested that he was later apprenticed to Donatello, but there is no evidence of this and John Pope-Hennessy considered that it is contradicted by the style of his early works. Il doit son surnom, Il Verrocchio, à son premier maître, l’orfèvre Giuliano Verrochi. Few paintings are attributed to him with certainty, but a number of important painters were trained at his workshop. A competition was arranged to enable a sculptor to be selected. It is now in London at the National Gallery.[12]. Covi reviews at length the various attributions it has received, but he prefers to think it was executed by Verrocchio and his workshop in the period 1464–1469. Verrocchio reçoit la commande (probablement de Pierre de Médicis) du David qui est aujourd’hui au Bargello. Son atelier est, avec celui des frères Pollaiolo, le plus important de Florence. David A. Levine, & Jack Freiberg (Eds. Andrea di Michele di Cione dit Le Verrocchio (Florence, 1435 – Venise, 1488) est un sculpteur, peintre et orfèvre florentin de la seconde moitié du Quattrocento. Andrea del Verrocchio naît en 1435 à Florence. [4] Little is known about his life. In 1475 the Condottiero Colleoni, a former Captain General of the Republic of Venice, died and by his will left a substantial part of his estate to the Republic on condition that a statue of himself should be commissioned and set up in the Piazza San Marco. Freiberg, Jack (2010): "Verrocchio's Putto and Medici Love". 50–56), Good photographs can be found in the Web Gallery of Art at www.wga.hu/index1.html, Funerary Monument to Cardinal Niccolo Forteguerri, Pistoia, https://brooklynrail.org/2019/11/artseen/Andrea-del-Verrocchio-Sculptor-and-Painter-of-Renaissance-Florence, Andrea del Verrocchio in the "History of Art", Andrea Verrocchio: 16th-century biography by Vasari, List of sites displaying Verrocchio's work, Andrea del Verrocchio at the National Gallery of Art, https://en.wikipedia.org/w/index.php?title=Andrea_del_Verrocchio&oldid=983943137, Creative Commons Attribution-ShareAlike License. His workshop was in Florence where he was a member of the Guild of St Luke. [6] Of the artist's pedagougery the Florentine poet Ugolino Verino wrote that.. "Whatever painters have that is good they drank from Verrocchio’s spring"....[7]. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. In 1468 Verrocchio made a bronze candlestick (1.57 metres high), now in the Rijksmuseum, Amsterdam, for the Signoria of Florence. L'œuvre est citée dans le catalogue rédigé par Tommaso Verrocchi en 1495 parmi celles réalisées par l'artiste pour les Médicis, en particulier pour les frères Laurent et Julien. The Baptism of Christ, now in the Uffizi Gallery at Florence, was painted in 1474–75. Verrocchio travaille au monument de 1476 à 1483. Around 1465 Verrocchio is believed to have worked on the lavabo of the Old Sacristy in San Lorenzo, Florence.[13]. L‘Anonyme Gaddiano, dans un manuscrit rédigé vers 1530[1], le présente comme un élève de Donatello, une information que ne reprend pas Vasari[2]. [25] Although it was not placed where Colleoni had intended, Passavent emphasised how fine it looks in its actual position, writing that "the magnificent sense of movement in this figure is shown to superb advantage in its present setting"[26] and that, as sculpture, "it far surpasses anything the century had yet aspired to or thought possible". Andrea del Verrocchio (/vəˈroʊkioʊ/,[1][2] also US: /-ˈrɔːk-/,[3] Italian: [anˈdrɛːa del verˈrɔkkjo]; c. 1435 – 1488), born Andrea di Michele di Francesco de' Cioni, was an Italian painter, sculptor, and goldsmith who was a master of an important workshop in Florence. Le David de Verrochio suit celui en bronze de Donatello réalisé vers 1440 duquel il s'est probablement inspiré. It had been left unfinished and was completed by Lorenzo di Credi when Verrocchio was in Venice near the end of his life. He had asked that his pupil Lorenzo di Credi, who was then in charge of his workshop in Florence, should be entrusted with the finishing of the statue, but after the considerable delay the Venetian state commissioned Alessandro Leopardi to do this. Delle vite de' più eccellenti pittori, scultori, et architetti (1648) (14776760341).jpg 1,726 × 2,006; 1.36 MB. The Madonna enthroned with John the Baptist and St Donato is in the Pistoia Cathedral. [10], A painting in the National Gallery in London (cat. (Covi pp. For life see Passavent pp. [18] It was purchased by the Signoria of Florence from Piero's heirs Lorenzo and Giuliano de' Medici in 1476 and is now at the Bargello in Florence. For this figure, the Master is purported to have used the young Leonardo, a newcomer to his workshop, as his model. On grounds of style and technique it was dated by Butterfield to the mid-1460s; he considered it a masterpiece of Verrocchio's early career.