andrea del verrocchio

Bottega di Andrea del Verrocchio, Madonna col Bambino, 1470 circa, New York, Metropolitan Museum of Art His father, Michele di Francesco Cioni, initially worked as a tile and brick maker, then later as a tax collector. As Covi says, the problem was resolved "in a most felicitous manner". 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. Andrea del Verrocchio (jaiotza-izena: Andrea de Cioni ; Florentzia, c. 1435 - Venezia, 1488) italiar pintorea, eskultorea eta urregina izan zen. Trabajó en la corte de Lorenzo de Médici en Florencia. Andrea del Verrocchio Portal:Likovna umjetnost/Izabrana biografija/07, 2008. Three sculptors competed for the contract, Verrocchio from Florence, Alessandro Leopardi from Venice and Bartolomeo Vellano from Padua. 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. The Baptism of Christ, now in the Uffizi Gallery at Florence, was painted in 1474–75. He was at first apprenticed to a goldsmith. David A. Levine, & Jack Freiberg (Eds. The ball was ingeniously made of sheets of copper soldered together and hammered into shape and then gilded. This article has been rated as C-Class. For this figure, the Master is purported to have used the young Leonardo, a newcomer to his workshop, as his model. Around 1465 Verrocchio is believed to have worked on the lavabo of the Old Sacristy in San Lorenzo, Florence.[13]. Portal:Likovna umjetnost/Izabrani umjetnik/2008. 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. Media in category "Andrea del Verrocchio" The following 16 files are in this category, out of 16 total. [21] It was replaced with a copy by Bruno Bearzi and since 1959 has been kept in a room in the Palazzo Vecchio. 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. ロレンツォの注文による最初の作品はピエロ及びジョヴァンニ・デ・メディチの墓碑であり、手洗盤も彼の注文によるほぼ同じ時期の作品である[20]。, この2つは同じ室内に設置され、また2つともにデジデーリオ・ダ・セッティニャーノの『カルロ・マルスッピーニの墓碑』という作品による影響が見られ、ピエロとジョヴァンニのための墓碑では墓棺を支えるブロンズの獅子の脚や葉を用いた装飾などに、手洗盤の方は盤を飾る一対のハルピュイアのモチーフ部に、そのデジデーリオの作品からの着想が見られる[20]。 [19] Verrocchio's David is a young lad, modestly clad, contrasting with Donatello's provocative David. His greatest importance was as a sculptor and his last wo… [29], 15th century Italian sculptor, goldsmith and painter, Portrait of Verrocchio by Nicolas de Larmessin. no.NG2508) of the Virgin and Child with two angels in tempera on panel, which had not previously been attributed to Verrocchio, was cleaned and restored about 2010 and is now attributed to him with a date of about 1467–1469. (The cross on top was made by other hands). Many other Renaissance painters were Verrocchio's apprentices or worked in his workshop. [17], A bronze statue of David was commissioned by Piero de'Medici. Andrea del Verrocchio Iz Wikipedije, slobodne enciklopedije Andrea del Verrocchio, rođen kao Andrea di Michele di Francesco de' Cioni, (Firenca, oko 1435. If you can improve it, please do. Il reçut un nombre important de commandes de Laurent de Médicis, dit le Magnifique, tenant auprès de lui … A competition was arranged to enable a sculptor to be selected. [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. Andrea di Michele di Francesco de' Cioni, bedre kjent som Andrea del Verrocchio (født i Firenze ca. [8] The name has gradually evolved into the name Verrochi. His pupils included Leonardo da Vinci and Sandro Botticelli, but he also influenced Michelangelo. Era escultor, ourives e pintor, e trabalhou na corte de Lorenzo de Médici. Andrea del Verrocchio was amongst the finest artists from the Early Renaissance, though he impressed in multiple mediums This versatile artist was a proficient draughtsman who also held great technical abilities within paintingand sculpturetoo. 83–100. In this work Verrocchio was assisted by Leonardo da Vinci, then a youth and a member of his workshop, who painted the angel on the left and the part of the background above. [4] Little is known about his life. This article is or was the subject of a Wiki Education Foundation-supported. 事をこなしていたことが分かる[14]。, 1466年には、当時14歳であったレオナルド・ダ・ヴィンチを弟子として採用した[10]。, レオナルドが工房にいつ入門したかは諸説あるが[36]、当時のフィレンツェの商工組合が14歳から徒弟修業を始めていることや、ヴァザーリが入門時期について「少年時代」と言っていること、徒弟期間が通常6年間であったことなどから、「1466年の14歳のころに入門した」との説が広く認められている[10]。, ヴァザーリによると、レオナルドの作品に感心した父のセル・ピエーロ・ダ・ヴィンチが、友人であったヴェロッキオにいくつかの作品を見せたところ、素描と彫塑の才能が抜群であったので、ヴェロッキオも大変に感心し、弟子として迎え入れる運びとなったという[10][11]。レオナルドは私生児であり、認知されていなかったようだが、この時点ではセル・ピエロのただ1人の子供だった[10]。レオナルドは初めの2年は工房に住み込んでいたが、それ以降は父の家から工房まで通った[37][38]。, この工房入門に、ピエロ・デ・メディチが一枚噛んでいたという説がある。レオナルドは「メディチが私をつくり、そして滅ぼした」[39]という言葉を残している。, ヴェロッキオの工房は当時の芸術家たちの工房と同じように、美術学校とデザイン・スタジオが一緒になったものであった。弟子たちはまず床の掃除など雑用から始め、依頼された絵画の制作を手伝い、そうしてようやく一人で絵を描くことが許されたという。レオナルドは20歳前後でその段階に達しており、そのころに『キリストの洗礼』の天使のうちの1人を描くことを任された。[11], ヴェロッキオはレオナルド・ダ・ヴィンチが描いた天使を見て、自分よりも色の使い方において彼が巧みであることを知った。弟子が自分より優れていることを知った彼は、絵筆を折り、その後2度と絵を描くことはなかったという有名なエピソードがあるが、このエピソードは後世の創作に過ぎない。[40]その後は自分の工房の絵画部門はレオナルドに任せ、自分は専門である彫刻に専念したという。[11], ヴェロッキオは1460年代後半に、フィレンツェ大聖堂のドーム部分（クーポラ）の円球と十字架を制作したが、レオナルドは、『パリ手稿G』において、「私達がフィレンツェ大聖堂の球を接合した方法を覚えている。」と述べていて、ブロンズ球のデザインに係わっていた事を示唆している[41]。また、このブロンズ球を天蓋に揚げる際に使われたフィリッポ・ブルネレスキの機械に魅了され、スケッチに取って絶賛している。[42], 1472年ころにはレオナルドは既に修業を終え、一人前の画家として独り立ちすることを許されていた。その証拠として、同年加入した聖ルカ組合の現存する登録簿には, 独立の資格を得た1472年以降もヴェロッキオの工房にとどまっていたことを裏付けるのは、1476年にレオナルドが他3名とともに男色の疑いで密告された、 The ball was struck by lightning and fell on 27 January 1601 but was reconstructed in 1602. Pope-Hennessy p. 310. It is now in London at the National Gallery.[12]. His workshop was in Florence where he was a member of the Guild of St Luke. It kept his production line fluid and efficient, whilst also ensuring that the quality of these completed works continued to remain high. His main works are dated in his last twenty years and his advancement owed much to the patronage of Lorenzo de' Medici and his son Piero. Freiberg, Jack (2010): "Verrocchio's Putto and Medici Love". 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. This page was last edited on 22 January 2021, at 14:48. Andrea is also the several generation grandfather of Italian entrepreneur, Paul M. Verrochi. 5–9. Verrocchio made a model of his proposed sculpture using wood and black leather, while the others made models of wax and clay. Andrea del Verrocchio, rođen kao Andrea di Michele di Francesco de' Cioni, (Firenca, oko1435. – Venecija, 1488.) 201–3. É considerado um dos pintores mais influentes de seu período. Andrea del Verrocchio, 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. Oktober 1488 in Venedig) war als Bildhauer und Maler einer der einflussreichsten Künstler in der Übergangszeit von der Früh - zur Hochrenaissance. - Seu primeiro trabalho como artista foi numa oficina de joias. 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. 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. 48–51 & 188. [28] This is in contrast to Donatello's statue at Padua of the condottiere known as Gattamelata with its "air of calm command" and all Verrocchio's effort "has been devoted to the rendering of movement and of a sense of strain and energy". Andrea del Verrocchio, (born 1435, Florence [Italy]—died 1488, Venice), 15th-century Florentine sculptor and painter and the teacher of Leonardo da Vinci. Andrea del Verrocchio, egentligen Andrea di Michele di Francesco de' Cioni, född 1435 i Florens, död 10 oktober 1488 i Venedig, var en italiensk konstnär och guldsmed, som anses ha utövat inflytande över sina elever Leonardo da Vinci, Lorenzo di Credi och Perugino. "[14], In 1468 Verrocchio made a bronze candlestick (1.57 metres high), now in the Rijksmuseum, Amsterdam, for the Signoria of Florence. Andrea del Verrocchio found sketches a good way of instructing his pupils and handing over elements of commissions for them to complete themselves. Covi pp. 次に表示された制作者による忠実な複製画作品： Andrea del Verrocchio. Andrea di Michele di Francesco di Cione detto Il Verrocchio (Firenze, 1435 – Venezia, 1488) è stato uno scultore, pittore e orafo italiano. His greatest importance was as a sculptor and his last work, the Equestrian statue of Bartolomeo Colleoni in Venice, is generally accepted as a masterpiece. Andrea del Verrocchio: Jesu Dåp, 1470-1473.Engelen lengst til venstre er antagelig malt av Leonardo da Vinci. Andrea del Verrocchio (c.1435-1488) was an influential Florentine sculptor, goldsmith and painter who worked at the court of Lorenzo de Medici. Andrea del Verrocchio, nacido Andrea di Michele di Francesco de Cioni, conocido simplemente como Verrocchio (Florencia, h. 1435 - Venecia, 1488), fue un pintor, escultor y orfebre cuatrocentista italiano. [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". [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. [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. It was completed by the spring of 1471. 1435, død i Venezia 7. oktober 1488), var en italiensk gullsmed, billedhugger, tegner og maler.Hans elever innbefatter Leonardo, Perugino, Ghirlandaio og Botticelli.. New York: Italica Press, pp. Few paintings are attributed to him with certainty, but a number of important painters were trained at his workshop. The Madonna enthroned with John the Baptist and St Donato is in the Pistoia Cathedral. He apparently became known as Verrocchio after the surname of his master, a goldsmith. アンドレア・デル・ヴェロッキオ（英: Andrea del Verrocchio, 本名 Andrea di Michele di Francesco de' Cioni 1435年頃[2] - 1488年6月30日[3]）は、イタリアのルネサンス期の画家、彫刻家、建築家、鋳造家、金細工師。, 元々ヴェロッキオの専門は彫刻であったが、絵画や版画、鋳造、機械工学や、数学、音楽の才にも恵まれており[10]、ウゴリーノ・ヴェリーノやラファエロの父であるジョヴァンニ・サンティらが彼を『稀代の良師』と讃えていることや、弟子の才能をよく把握し伸ばすことに長けていたということなどから[10]、フィレンツェの芸術家としてだけでなく、教育家としても第一人者であった。それ故工房には前途有望な若い芸術家たちが大勢集まることとなった。ペルジーノは後に弟子としてラファエロを、ギルランダイオはミケランジェロを迎えることとなる。[11], 本名をアンドレア・ディ・ミケーレ・ディ・フランチェスコ・チオーニという[4]。生涯独身を貫いた[13]。トンマーゾと言う弟がいる[14]。, すべての記録の中で最初に彼の名が現れるのは、傷害致死事件に関するものである。1453年のフィレンツェ共和国の裁判記録によると、1452年に仲間同士で喧嘩をしていた最中に、「アントニオ・ディ・ドメニコ」という羊毛職人の頭に石を投げつけ、殺してしまったということである。結果、過失であったとして無罪となっている[4]。, 「デル・ヴェロッキオ」という名前は1467年から記録に現れるが、それは彼の初期のパトロンであり、フィレンツェの有力貴族であったヴェロッキオ家に由来してのことだという[4]。しかし、『ヴェロッキオ』は「本物の目」という意味であり、芸術に対する彼の審美眼の高さを表すものであり、生前彼がいかに尊敬されていたか、その評判のほどを示しているとする説や[11]、事実かどうか疑わしいが、師事したというジュリアーノ・ヴェッキオという金工師から採られているという説もある[4][15]。, 1435年にフィレンツェの聖アンブロージョ教会地区で生まれた。父の名はミケーレ・ディ・フランチェスコ・チオーニと言い、レンガ職人で後に税務官となった。母の名はジェンマと言った。経済的に貧しい家庭であった為、長男であった彼は自ら弟や妹を養わなければならなかった[16]。修業時代や彼の師弟関係について、確実に判っていることはなく、推測するほかない[4]。, 芸術家列伝を著したヴァザーリによれば、教皇庁の建築顧問として活躍したベルナルド・ロッセッリーノの見習いとして、サンタ・クローチェ聖堂の『レオナルド・ブルーニ墓碑』の制作に参加するなどして、修業を積んでいたとしているが、1457年の資産報告書においては、自ら金細工師と名乗っている。同報告書においては、仕事がないので、これ以上この仕事を続けられないと窮状をも訴えている。[17][4]。, 金工の師匠が誰であるかはわからないが、アントニオ・デル・ポッライオーロと同様にヴィットリオ・ギベルティに学んだ可能性が高い[4]。時期は不明であるが、フィリッポ・リッピの弟子として修行していたともいう。[18], 1461年にはデジデーリオたちとオルヴィエート大聖堂の大理石製祭壇彫刻のコンクールに応募するも、あえなく落選している[4]が、1460年代の後半に差し掛かると次々と仕事が舞い込むようになり、1466年には商業裁判所の評議会から、オルサンミケーレ聖堂のためのブロンズ群像「聖トマスの懐疑」の注文を受けた[4]。本作品はドナテッロの作品の移動に伴って発注され[4]、1479年にはキリスト像が完成、1483年6月21日に設置された[3]。ヴァザーリは本作品を絶賛している[3]。1468年にはフィレンツェ政庁の謁見の間の為の、「ブロンズ燭台」を完成させている[4]。, 1467年、8年の2度にわたってフィレンツェ大聖堂の先端に設置するモニュメントの審議委員会に、ポッライウォーロやルカ・デッラ・ロッビアとともに委員として呼ばれた[19]。大聖堂は1296年に建設が始められた。ジョット・ディ・ボンドーネやフランチェスコ・タレンティ、オルカーニャなどによって建築が進められたが、途中何度かの工事の中止を経て、フィリッポ・ブルネレスキによって、ドーム部分（クーポラ）も1461年に完成し、天頂の円球と十字架を残すのみとなっていた。, 結局この審議委員会で検討されたモニュメントの受注に成功し、1468～71年にフィレンツェ大聖堂のドーム部分（クーポラ）の円球と十字架を制作し[4]、1471年5月に天頂部に据え付けられた。弟子のレオナルド・ダ・ヴィンチが制作から据え付けまで携わったようである。, 1469年にヴェロッキオは石工・木工師の組合に参加したが、このころには画家としても知られていたようで、ロレンツォ・デ・メディチのために、馬上槍試合用の旗標を描いたり[4]、1469年には結果的に受注できなかったものの、商業裁判所のホールを飾る「美徳擬人像」連作の委嘱を巡ってポッライウォーロと競っている。この連作のうちの1枚が彼の助手であったボッティチェリに委嘱されている[4]。「剛毅[注釈 1]」という作品がこの際に描かれた[20]。, 1471年3月にはミラノ公ガレアッツォ・マリーア・スフォルツァが弟を引き連れてメディチ家を訪問した際には、彼とその工房が饗応役を務めている[21]。, 1472年から75年にかけてフィレンツェのサン・サルヴィ修道院より依頼を受けて、キリストの洗礼を制作。レオナルド・ダ・ヴィンチに天使や背景などを描かせたというが、キリストや右側に居る洗礼者聖ヨハネの部分にもボッティチェリやディ・クレディの手が入っているとする研究者もいる[22]。, 本作品には人体の解剖学的構造への著しい関心が見られるのに対し、人物の衣襞や、中景の岩壁の仕上げには稚拙なほどの生硬さが見られるため、ヴェロッキオやレオナルド以外の第3者の手が入っているのは確実であると考えられる[22]。また、全体の構図や主要人物のデッサンをヴェロッキオが決定したことはキリストと聖ヨハネの表現が「聖トマスの懐疑」と共通する要素を持っていることから間違いがなく、おそらく凡庸な弟子を率いて制作を進めていた画面を、腕の良い弟子たちが引き継ぎ、最後の段階でレオナルドが手を加えて完成したものと考えられる[23]。複数の作者の合作であるため、画面全体の不調和や統一感の欠如は否めないが、ヴェロッキオの独自性と力量が遺憾なく発揮された作品である[23]。, なお、本作のレオナルドが担当した部分（主に左端の天使）を見て、レオナルドの卓越した才能に驚嘆したヴェロッキオが自らの絵筆を折ったとする伝説的逸話があるが、これは厳密には間違いであり、実際にはほとんどの絵画制作を弟子たちに任せ、自らは彫刻に専念していったということでしかない[22]。, 1477年にはフィレンツェ大聖堂附属のサン・ジョヴァンニ洗礼堂の祭壇装飾のためのパネルをポッライウォーロやベルナルド・チェンニーニ、フランチェスコ・ディ・ジョヴァンニらとともに受注した[14]。彼が担当した『聖ヨハネの斬首』は残酷な情景を表現しており、1480年に完成した[19]。, 受注を巡ってポッライウォーロと競い合った結果、ロレンツォ・デ・メディチの調停により、1478年にもピストイア大聖堂に設置する枢機卿ニッコロ・フォルテグエッリ記念碑を受注している[14]。作品は未完成のまま終わり、弟子たちや後世の芸術家の手によって完成した。ヴェロッキオの手によるものは、キリスト像と作品左側の「信仰」を擬人化した部分程度である[14]。, 1480年には、もともとドナテッロが使用していたフィレンツェ大聖堂造営局の裏手の工房に拠点を移した[3]。そのために離れることとなった元々の工房は、ロレンツォ・ディ・クレディが継ぐこととなった[24]。, 1479年7月30日にヴェネツィア政府は共和国の傭兵隊長コレオーニのブロンズ騎馬像の建立を決定し、ヴェロッキオやドナテッロの弟子であったバルトロメオ・ベッラーノやヴェネツィアの芸術家であったアレッサンドロ・レオパルディに試作を要請した[3]。要請に応えてヴェロッキオは、1481年に馬の原寸大試作をヴェネツィアへ送り、1483年に2頭目の馬の蝋製試作を送った。この時点でヴェロッキオへの制作委託が決定したという[3]。, バルトロメーオ・コッレオーニはヴェネツィア共和国の傭兵隊長であり、ベルガモの領主で、ミラノにも雇われていた事があるが、ヴェネツィアへ多大な貢献をした[25]。彼は遺書によって、対トルコ戦の費用として10万ドゥカーティを寄贈する代わりに、自身の像をサン・マルコ広場に建てるよう政府に要求した[26]が、共和国制度を採用するヴェネツィアにとって個人の記念像を都市の中心広場に置くことは許容できなかったため、結局サン・ジョヴァンニ・エ・パオロ教会前の広場に建てられることとなった[27]。, 1486年にはヴェネツィアに移住し、本格的な制作にとりかかった[3]。ヴァザーリによれば、鋳造の途中で急病に倒れ、1488年6月30日に亡くなった。死の5日前に認めた遺書により、騎馬像の鋳造はロレンツォ・ディ・クレディに託されたが、結局騎馬像発注の際試作を要請された、ヴェネツィアの芸術家であるアレッサンドロ・レオパルディによって完成され[28][29]、1496年3月にサン・ジョヴァンニ・エ・パオロ教会の広場に設置された[30]。, 5年後にレオナルドもヴェロッキオの騎馬像の2倍の大きさの「フランチェスコ・スフォルツァ騎馬像」の原型を完成させるが、結局それが失われてしまった現在では、芸術的にも技術的にも、バルトロメーオ・コッレオーニ騎馬像を15世紀彫刻史の1つの頂点を示す記念碑的作品と見做すことができる[30]。, 遺体は弟子のロレンツォ・ディ・クレディによってフィレンツェに移送され、聖アンブロージョ教会に埋葬された。いろいろな作品の制作途中で亡くなったため、「聖母と洗礼者ヨハネ」などの作品はロレンツォ・ディ・クレディが完成させた[31]。ディ・クレディはヴェロッキオの管財人であり、また筆頭の遺産相続人でもあった[32]。, ヴェロッキオは、コジモ、ピエロ、ロレンツォの3代に亘って、メディチ家の強力な支援を受け、制作に励んだ。, 彼の現存する最初の作品は、サン・ロレンツォ聖堂の主祭壇前の地下に埋葬されたコジモ・デ・メディチのための、床に設置する墓標である[4]。, コジモが亡くなった後、彼はコジモの息子であるピエロ・デ・メディチの強力な支援を受けた。先述したように、1460年代後半になってヴェロッキオには仕事が次々と舞い込むようになったが、それはピエロ・デ・メディチの存在が大きい[4]。ピエロは「聖トマスの懐疑」を発注した商業裁判所の評議会メンバーであり、またフィレンツェ大聖堂の円球の制作委嘱に関しては、ヴェロッキオへの支払いの代理人をも務めている[4]。, ブロンズによる彫像の「イルカと天使」と「ダヴィデ像」も1470年代初頭の作品であるが、この2つもピエロ・デ・メディチの発注によるものであるという[20]。ヴァザーリによれば「イルカと天使」は彼の別荘のため注文された噴水用の作品で、コジモ1世のときにヴェッキオ宮殿の中庭に移された[20]。現在はヴェッキオ宮殿の中庭の噴水にレプリカが展示されており、宮殿併設の美術館3階に本物が展示されている。, 「ダヴィデ像」の制作年は不明だが、ドナテッロのダヴィデ像の代わりに発注された可能性が強く、モデルが弟子のレオナルドであるとする説があるが、あくまで一説にすぎない[14]。1476年にロレンツォとジュリアーノの兄弟によって150フィオリーノで政庁に売り渡されている。[4][14], 1470年代に入り、パトロンであったピエロが亡くなり、その息子のロレンツォ・デ・メディチを新たなパトロンとするようになった[20]。パトロンの庇護のもと製作に励むお抱え芸術家となった彼は、1472年にはフィレンツェに工房を構え、ボッティチェリ、ペルジーノ、レオナルド・ダ・ヴィンチと一緒に聖ルカ組合の会員となった[33][4]。 Andrea del Verrocchio … Andrea di Francesco di Cione, conhecido como Andrea del Verrocchio, (Florença, 1435 — Veneza, 10 de Outubro de 1488) foi um artista florentino italiano que esteve ativo durante a Renascença. ANDREA DEL VERROCCHIO INTERNATIONAL CHORAL FESTIVAL is open to all genres of choral singing, even with instrumental presence, according to the rules and categories expressed in the following section. Andrea di Francesco di Cione, conhecido como Andrea del Verrocchio, (Florença, 1435 — Veneza, 10 de Outubro de 1488) foi um artista florentino italiano que esteve ativo durante a Renascença. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. [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 trained as a painter under Fra Filippo Lippi. He apparently became known as Verrocchio after the surname of his master, a goldsmith. The statue was eventually erected on a pedestal made by Leopardi in the Santi Giovanni e Paolo in Venice, where it stands today.[24]. He then opened a workshop in Venice and made the final clay model which was ready to be cast in bronze, but he died in 1488, before this was done. Pope-Hennessy p.310, The Great Artists Leonald da vinci p.4では1469年となっている, 1469-70年の父の資産申告書に同居人として、2番目の妻と17歳のレオナルドの名が記されているため, Paolo Galluzzi, "Leonard de Vinci, engineer and architect",p. 50, Encyclopedia Britannica - Andrea del Verrocchio Early life, Encyclopedia Britannica - Andrea del Verrocchio, https://ja.wikipedia.org/w/index.php?title=アンドレア・デル・ヴェロッキオ&oldid=79133728. - Andrea del Verrocchio nasceu na cidade Florença (Itália) em 1435. incubator.wikimedia.org での使用状況 Wp/shi/Aggur:Taẓuṛi Wp/tzm/Andrea del Verrocchio Wp/shi Verrocchio is unlikely to have ever seen Colleoni and the statue is not a portrait of the man but of the idea of a strong and ruthless military commander "bursting with titanic power and energy". Andrea del Verrocchio Personlig information Født Andrea di Michele Cioni 1435 Firenze Død 7. oktober 1488 Venedig Uddannelse og virke Elev af Donatello, Giuliano Verrochi Der er for få eller ingen kildehenvisninger i denne artikel, hvilket er et problem.. Covi thinks that it was probably painted with assistance from Ghirlandaio. Andrea del Verrocchio, n.Andrea di Michele di Francesco de' Cioni, (n.1435, Florența, Republica Florentină[*] – d. 7 octombrie 1488, Veneția, Republica Veneția) a fost un sculptor, aurar și pictor italian ce a lucrat la curtea lui Lorenzo de' Medici în Florența.. Andrea del Verrocchio , 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. Few paintings are attributed to him with certainty, but a number of important painters were trained at his workshop. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. He therefore had the problem of placing two statues (more than life size) in a tabernacle originally intended for one. – Venecija, 1488) je bio utjecajan talijanski kipar, zlatar i slikar koji je radio na dvoru Lorenza Medicija u Firenci. Andrea del Verrocchio, eigentlich Andrea di Michele Cioni (* 1435 in Florenz; † 7. Andrea del Verrocchio Andrea del Verrocchio, vlastním jménem Andrea di Michele di Francesco di Cioni (1435, Florencie – 10. října 1488, Benátky) byl italský renesanční malíř, zlatník a sochař činný v Římě, ve Florencii a v Benátkách [27] He points out that both man and horse are equally fine and together are inseparable parts of the sculpture. Andrea del Verrocchio (Italian pronunciation: [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. 選択する 46 アート作品 有名なアーティストによる作品 当サイトのユーザーエクスペリエンスを向上させるためにCookieを使用しています。 詳しくは： アンドレア・デル・ヴェロッキオ（英: Andrea del Verrocchio, 本名 Andrea di Michele di Francesco de' Cioni 1435年頃 - 1488年6月30日 ）は、イタリアのルネサンス期の画家、彫刻家、建築家、鋳造家、金細工師。 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=1002036016, Short description is different from Wikidata, Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference, Wikipedia articles with CANTIC identifiers, Wikipedia articles with KULTURNAV identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. je bio utjecajan talijanski kipar, zlatar i slikar koji je radio na dvoru Lorenza Medicija u Firenci. [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. The three models were exhibited in Venice in 1483 and the contract was awarded to Verrocchio. [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]. 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. 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. Passavent pp. His equestrian statue of Bartolomeo Colleoni, erected in Venice in 1496, is particularly important. He worked … [10], A painting in the National Gallery in London (cat. Verrochio had been at work in the Funerary Monument to Cardinal Niccolo Forteguerri, Pistoia, when he departed for Venice in 1483. 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. Bartolomeo Vellano from Padua a young lad, modestly clad, contrasting with Donatello 's provocative David 15th century sculptor... And Lorenzo di Credi passed through his workshop, as his work St Donato is in the National Gallery [. And then gilded [ 13 ] for Venice in 1496, is particularly important man and horse are equally and. 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