860:
550:
22:
610:. According to Galli, "What they all have in common is a pronounced taste for precious effects, the highly efficacious imitation of jewels, brocades, velvets, with an illusionistic and tactile treatment based on the extensive and experimental use of oil-based binders (at the height of the reign of tempera in Florence), in open emulation of the Flemish masters. This refulgent pictorial treatment characterizes compositions that are highly studied, always somewhat artificial, populated with rather lanky and awkward figures, often seen with bottom-to-top perspective, with hands and feet that are nervously articulated, somewhat affected, emerging in their aristocratic pallor from silks and velvets studded with rubies and gilded trimmings".
840:
815:
172:
619:
354:
236:
1517:
536:
in
November 1485. It is clear from Antonio's will of November 1496 that he was dead by then; otherwise the date and circumstances of his death are unknown. As his tomb is in Rome he is thought to have died there, like Antonio. He had never married, but left an illegitimate daughter called Lisa,
255:
Contemporaries regarded
Antonio as much the more significant talent; he was also a sculptor, whereas Piero seems only to have painted. They had separate workshops in a shared building. Disentangling their contributions, and those of their assistants, in paintings is difficult, as can be seen from
483:
Antonio was the eldest son; the two middle brothers respectively went into poultry (eventually inheriting that business) and goldsmithing. The youngest brother was Piero, and he and
Antonio very frequently worked together, though their workshops were physically "separate but mutually accessible".
409:(see below). Given the nature of their relationship, some art historians have continued to suggest that Antonio helped Piero with aspects of the paintings, either in the design or the execution. Others are happy to use their style to identify similar works as by Piero's workshop.
350:, differences in quality within the large painted area have always been noted by art historians, and traditionally those parts regarded as of top quality were attributed to Antonio, and those less good to Piero or assistants. Galli sees the whole piece as Piero's, with his team.
859:
204:, leaving Piero and their assistants to complete the painting. Vasari began the tradition of stressing the contribution of Antonio rather than Piero to the paintings, which went largely unchallenged until the 20th century, despite suspicions by art historians such as "
447:
among others, and with the portrait of
Galeazzo Maria Sforza is Piero's only known male portrait. The teenage subject is given an almost frontal pose, unusual for the period. The reattribution was supported by Alison Wright and Aldo Galli, among others.
266:
in London was long attributed to
Antonio, but by 2023 is described by the museum as by Piero. Davies, in 1961, noted "The attribution to Antonio, claimed to be a better man than Piero, is little more than a recognition of its high quality".
416:" probably from the 1530s and 1540s, so only shortly before Vasari. But one characteristic and unusual feature of some paintings is that they are painted directly onto the wood panel, without the usual careful preparation of glue and
528:
in San
Gimignano, is dated 1483. In about 1484, when he was around 41, he followed Antonio to Rome, and thereafter seems to have spent most of his time there until his death. Not many works are usually allocated to this period.
595:
By contrast, Aldo Galli describes it as "a magnificent painting" that "presents ... close stylistic and technical affinities with" other works he attributes to Piero, and others have attributed to
Antonio: the six
491:(d. 1457) has been considered as a possible master (sometimes for both brothers) on stylistic grounds and the authority of Vasari, but problems with the dating makes this questioned by many scholars.
570:
in her monograph on the brothers "it is hardly permissable for Miss
Cruttwell to attribute whichever of the paintings pleases her best to Antonio and the rest to Piero". This was really directed at
412:
Aldo Galli's redistribution of the paintings does not so much depend on stylistic analysis as a reassessment of early (pre-Vasari) documentary records and comments by early writers such as the "
814:
256:
Vasari onwards. Many works are given joint attributions, but others, especially smaller works, are given to a single brother. In some cases these have changed over the years, for example the
762:
inventory in 1492, and so has always been regarded as by him. It is in poor condition. The turning pose with a hand shown is unusual for
Florence at this time, and may have been suggested by
336:
over thirty years before, were a work of both brothers, the only specific documentation tying
Antonio to any work in painting. The miniature versions of two of them that are now in the
313:(c. 1470), is now also regarded by the museum (Aldo Galli's base) as by Piero, but in 2005 was "now generally assigned to Antonio", according to Alison Wright, author of the most recent
223:(2014) assigns the actual painting of many works to Piero that had long been given to Antonio, or both brothers. At least one of the brothers was influenced by the landscape style of
192:
498:
for the Medici Palace thirty-four years before; these were famous in their time, but are now lost. Art historians think he may have misremembered the date by a year or two.
325:
in New York form a group of four that are typically given the same attribution, but the plainer and more forceful Boston female portrait is separated by many (see below).
219:
In recent years there has been a trend among art historians to increase the credit Piero is given for the paintings, led by figures such as Aldo Galli, whose
839:
549:
1355:
509:
six metres high on the facade of San Miniato fra le Torri, near his house; both church and fresco have now disappeared. Albertini gives to Piero alone the
574:, who Bode saw as Cruttwell's mentor, who was especially critical of the few works and elements of works he allowed to Piero. He said in 1903 that the
373:
The situation is not entirely clarified by Piero's documented, important and very public commission in 1479 for a set of full-length paintings of the
443:
in 2021 for 4,564,200 GBP (6,261,764 USD), the first "fully attributed work" by Piero ever to come to auction. It had previously been attributed to
1841:
168:; according to Vasari, the brothers carried out dissections to improve their knowledge of the subject (though modern scholars tend to doubt this).
1584:
1546:
1121:, "The present portrait is ascribed to Piero del Pollaiuolo on the strength of its similarity to six panels of Virtues painted for the Mercanzia."
1632:
472:"poulterer". This was a luxury trade at the time, and Jacopo's four sons were unlikely all to find room for careers in it. According to
284:
has been attributed to both brothers individually, as well as a string of other masters. Piero only signed and dated one painting, his
1325:(1964, University of Pennsylvania Press), Hartt also gets the brothers' ages mixed up "Piero, Antonio's older brother and assistant..."
494:
In a surviving letter by Antonio of 1494 he says that he and a brother (presumed to be Piero) painted the three huge canvases of three
21:
1927:
1705:
1589:
782:
623:
344:
562:
The characterisation of his style inevitably depends on which paintings are attributed to him and his workshop. Over a century ago
588:, an enthusiast for Antonio, remarked that "Piero... was a painter—a dull one, judging by his one signed work" (the San Gimignano
190:, who wrote several decades after both brothers were dead, includes a joint biography of Antonio and Piero del Pollaiuolo in his
2012:
1673:
720:
309:
240:
1594:
476:, the contemporary "fanatical enumerator" of Florentine life, there were only 8 poultry suppliers in Florence in 1472, but 44
2007:
1713:
866:
794:
576:
524:
286:
1900:
1834:
1665:
1516:, exhibition catalogue (Milan, Museo Poldi Pezzoli, 2014 – 2015), eds. A. Di Lorenzo and A. Galli , Milan 2014, pp. 25–77,
657:
602:
554:
515:
893:
1919:
1625:
1402:
998:
1889:
1689:
1657:
846:
750:
645:
637:
120:
79:
1881:
1697:
770:
280:
1435:
1414:
1222:
1171:
584:
was "a picture of unalloyed mediocrity, with scarcely a touch of charm to repay the absence of life and vigour".
1992:
1949:
1827:
1495:
871:
799:
731:
296:
291:
209:
216:. In the 21st century a full and partly successful challenge has been mounted, and some attributions changed.
2002:
1997:
1681:
1534:
1507:
1490:
1478:
738:
258:
175:
1567:
1618:
224:
1604:
294:, while Antonio only signed his most important sculptures, his papal tombs, and his single engraving, the
153:
2017:
1600:
1282:
Boston attribute their female portrait to Piero, and date it 1490–1499, giving his death date as 1496,
1158:
927:
322:
270:
In the traditional distribution of authorship, Piero (and his workshop) was usually given the smaller
164:
and the two frequently worked together. Their work shows both classical influences and an interest in
1865:
328:
A letter by Antonio in 1494 stated that the original, now lost, very large three paintings featuring
1192:
428:
are examples. But this has also been described as a technique used by Antonio, and was used in the
2022:
1873:
1603:
collection catalog containing information about Pollaiuolo and his works (see pages 123–125; MMA #
922:
1753:
904:
820:
689:
1850:
1802:
1795:
790:, who have long attributed it to both brothers; for Galli it is entirely by Piero and his team.
396:
380:
205:
161:
1982:
1911:
1761:
763:
696:
1283:
1057:
537:
whose care was entrusted to Antonio; she later married, with Antonio giving 150 lire to her
460:. The brothers took their nickname from the trade of their father Jacopo, who sold poultry,
1987:
1777:
1737:
1555:
710:
675:
384:
357:
171:
8:
1118:
502:
488:
304:
245:
1745:
979:
Davies, 442–443, also 444 and 446 on the gallery's two Pollaiuolo paintings; Galli, 47.
682:
392:
1483:
Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries
1148:
Wright, 71; this has usually been regarded as by Antonio, but Galli gives it to Piero.
1104:
532:
The last certain record of him is when he was paid for a now unidentified painting in
1769:
1579:
1530:
1503:
1486:
703:
533:
506:
787:
743:
628:
571:
465:
413:
263:
213:
181:
133:
100:
94:
41:
1522:
585:
444:
35:
1550:
759:
567:
333:
187:
908:
631:, who have long attributed it to both brothers. Galli gives it to Piero alone.
1976:
1726:
1343:
1323:
The Chapel of the Cardinal of Portugal, 1434-1459: At San Miniato in Florence
932:
581:
473:
375:
165:
563:
440:
201:
340:
are one pair of traditional attributions to Antonio that Galli accepts.
1819:
618:
1514:
Antonio and Piero del Pollaiuolo: "Silver and Gold, Painting and Bronze”
1610:
662:
402:
353:
271:
235:
221:
Antonio and Piero Del Pollaiuolo: Silver and Gold, Painting and Bronze
180:(c. 1470–1480), one of the works now given to Piero by its owner, the
477:
314:
1174:, "Modern Renaissance: A Cross-Category Sale", London, 25 March 2021
457:
329:
275:
274:
and portraits, with mythological subjects, especially several with
196:. Vasari says that Antonio was especially highly regarded for his
157:
200:
or drawing, and it may be that on shared works he did most of the
746:, who in 2023 give it to Piero alone (formerly usually Antonio).
1931:
1904:
1893:
898:
851:
830:
775:
755:
669:
406:
367:
337:
318:
193:
Lives of the Most Excellent Painters, Sculptors, and Architects
343:
In the case of the largest surviving Pollaiuolo painting, the
317:
of the brothers in English. Similar portraits in Berlin, the
668:
Seven Virtues, 1469–1470; six painted by Pollaiuolo, all now
650:
538:
417:
249:
1529:, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams),
278:, given to Antonio. One well-known portrait in Berlin, the
109:
71:
65:
56:
1512:
Galli, Aldo, "The Fortune of the Pollaiuolo Brothers", in
50:
1321:
Hartt, 313. Oddly for the main author of a monograph on
641:(c. 1465) – oil on wood, Berlin, often given to Antonio.
227:, and the revisionist school thinks that this was Piero.
303:
A profile portrait of a richly dressed young woman, the
160:. His older brother, by about ten years, was the artist
1585:
Extensive biography of Antonio and Piero del Pollaiuolo
1590:
Piero del Pollaiuolo at Panopticon Virtual Art Gallery
1564:
The Pollaiuolo Brothers: The Arts of Florence and Rome
1553:'s joint biography of the Pollaiuolo brothers, in his
487:
Piero's training is uncertain. The Florentine painter
1502:, National Gallery Catalogues, 1961, reprinted 1986,
405:
and the other six by Piero; all seven are now in the
121:
103:
80:
62:
44:
1221:
Wright, 61–64; Vasari names Piero as a pupil in his
672:. Documented as by Piero, in terms of the payments.
112:
106:
68:
53:
47:
25:
Portrait bust on the tomb he shared with his brother
59:
833:(and the other five Piero was commissioned to do).
1974:
1119:Metropolitan Museum of Art, page for a portrait
395:. In the end, and after some public acrimony,
1835:
1626:
1011:; but Wright, 93–94, treats it as by Antonio
778:(who in 2023 still attribute it to Antonio).
208:" in the late 19th century, and in the 20th
807:Always or traditionally attributed to Piero
1849:
1842:
1828:
1633:
1619:
999:"Piero del Pollaiuolo | Apollo and Daphne"
505:, writing in 1510, he painted a fresco of
387:. They were to decorate the room of the
230:
1640:
1543:, 1966, Penguin (Pelican History of Art)
1029:Hartt, 313–317 exemplifies this approach
617:
548:
352:
234:
170:
20:
16:15th-century Italian Renaissance painter
766:who was very interested in portraiture.
653:, given by the museum to both brothers.
1975:
1823:
1614:
802:, Piero's only signed and dated work.
758:. This was recorded as by Piero in a
665:, long given to Antonio. Now Uffizi.
132:
1596:Italian Paintings: Florentine School
1580:Biography on the Web Gallery of Art
13:
1566:, 2005, Yale, ISBN 9780300106251,
1527:History of Italian Renaissance Art
14:
2034:
1901:Cardinal of Portugal's Altarpiece
1690:Portrait of Galeazzo Maria Sforza
1666:Cardinal of Portugal's Altarpiece
1573:
847:Portrait of Galeazzo Maria Sforza
751:Portrait of Galeazzo Maria Sforza
658:Cardinal of Portugal's altarpiece
638:Profile Portrait of a Young Woman
603:Cardinal of Portugal's altarpiece
555:Cardinal of Portugal's altarpiece
516:Cardinal of Portugal's Altarpiece
148:– by 1496), whose birth name was
1882:Profile Portrait of a Young Lady
1159:"2021 Old Masters market review"
858:
838:
813:
383:, the seat of government of the
281:Profile Portrait of a Young Lady
134:[ˈpjɛːrodelpollaˈjwɔːlo]
99:
40:
1810:series otherwise by Pollaiuolo)
1459:
1450:
1441:
1429:
1420:
1408:
1396:
1387:
1378:
1369:
1360:
1349:
1337:
1328:
1315:
1306:
1297:
1288:
1276:
1267:
1258:
1249:
1240:
1231:
1215:
1206:
1197:
1186:
1177:
1164:
1151:
1142:
1133:
1124:
1112:
1098:
1089:
1080:
1071:
1062:
1050:
1041:
1032:
1023:
786:, completed 1475, oil on wood,
732:Isabella Stewart Gardner Museum
1014:
991:
982:
973:
964:
955:
946:
915:
886:
513:altarpiece now in London, the
391:, the body overseeing all the
1:
2013:15th-century Italian painters
1806:by Sandro Botticelli (in the
1541:Sculpture in Italy, 1400–1500
1472:
1068:Davies, 442–443; Galli, 61–62
764:the sitter, the Duke of Milan
142:
2008:Italian Renaissance painters
1928:Martyrdom of Saint Sebastian
1706:Martyrdom of Saint Sebastian
872:Sant'Agostino, San Gimignano
800:Sant'Agostino, San Gimignano
783:Martyrdom of Saint Sebastian
624:Martyrdom of Saint Sebastian
451:
292:Sant'Agostino, San Gimignano
225:Early Netherlandish painting
7:
1500:The Earlier Italian Schools
1086:Davies, 444; Hartt, 316–317
798:(1483) – altarpiece now in
154:Italian Renaissance painter
10:
2039:
1601:Metropolitan Museum of Art
1417:; Wright, 13; Galli, 68–70
1393:Campbell, 88; Galli, 72–73
1193:National Gallery biography
1001:. National Gallery, London
928:Collins English Dictionary
522:His only signed work, the
323:Metropolitan Museum of Art
1960:
1941:
1866:Elevation of the Magdalen
1857:
1788:
1724:
1674:Portrait of a Young Woman
1648:
1161:, Nicholas Hall (dealers)
754:, 1471, tempera on wood,
721:Portrait of a Young Woman
435:A recently re-attributed
389:Tribunale della Mercanzia
310:Portrait of a Young Woman
241:Portrait of a Young Woman
1874:Hercules Slaying Antaeus
1714:Coronation of the Virgin
1405:; Galli, 63; Davies, 446
1172:Lot 109 "Catalogue note"
879:
867:Coronation of the Virgin
795:Coronation of the Virgin
613:
577:Coronation of the Virgin
544:
525:Coronation of the Virgin
348:altarpiece now in London
287:Coronation of the Virgin
212:, later Director of the
1312:Galli, 43–45, 44 quoted
905:Oxford University Press
874:, signed and dated 1483
1993:Painters from Florence
1920:Hercules and the Hydra
1851:Antonio del Pollaiuolo
1796:Antonio del Pollaiuolo
1539:Seymour, Charles Jr.,
1255:Galli, 33; Wright, 253
1226:of Andrea del Castagno
632:
559:
464:meaning "hen coop" in
381:Palazzo della Signoria
370:
297:Battle of the Nude Men
252:
231:Assigning attributions
206:Crowe and Cavalcaselle
184:
162:Antonio del Pollaiuolo
26:
2003:Italian male painters
1998:Quattrocento painters
1962:✻ Collaboration with
1912:Hercules and Deianira
1885:(c. 1465; attributed)
1294:Wright, 21; Galli, 64
901:UK English Dictionary
621:
552:
426:Galeazzo Maria Sforza
356:
321:in Florence, and the
238:
174:
24:
1964:Piero del Pollaiuolo
1890:Tobias and the Angel
1658:Tobias and the Angel
1642:Piero del Pollaiuolo
1556:Lives of the Artists
961:Vasari; Wright, 5, 8
646:Tobias and the Angel
385:Republic of Florence
30:Piero del Pollaiuolo
1950:Battle of the Nudes
1698:Portrait of a Woman
1518:PDF on Academia.edu
771:Portrait of a Woman
503:Francesco Albertini
496:Labours of Hercules
489:Andrea del Castagno
437:Portrait of a Youth
305:Museo Poldi Pezzoli
246:Museo Poldi Pezzoli
952:Vasari; Wright, 86
728:Portrait of a Lady
633:
627:, completed 1475,
560:
393:Guilds of Florence
371:
253:
185:
27:
2018:Catholic painters
1970:
1969:
1817:
1816:
1682:Apollo and Daphne
1366:Vasari; Galli, 49
1157:Rordorf, Oliver,
911:on 22 March 2020.
739:Apollo and Daphne
724:, c. 1470, Milan.
606:, and the London
534:Pistoia Cathedral
507:Saint Christopher
259:Apollo and Daphne
177:Apollo and Daphne
2030:
1933:
1906:
1895:
1844:
1837:
1830:
1821:
1820:
1709:(completed 1475)
1635:
1628:
1621:
1612:
1611:
1562:Wright, Alison,
1523:Hartt, Frederick
1466:
1463:
1457:
1454:
1448:
1445:
1439:
1433:
1427:
1424:
1418:
1412:
1406:
1400:
1394:
1391:
1385:
1382:
1376:
1373:
1367:
1364:
1358:
1353:
1347:
1341:
1335:
1332:
1326:
1319:
1313:
1310:
1304:
1301:
1295:
1292:
1286:
1280:
1274:
1271:
1265:
1262:
1256:
1253:
1247:
1244:
1238:
1235:
1229:
1219:
1213:
1210:
1204:
1201:
1195:
1190:
1184:
1181:
1175:
1168:
1162:
1155:
1149:
1146:
1140:
1137:
1131:
1128:
1122:
1116:
1110:
1105:Uffizi page for
1102:
1096:
1093:
1087:
1084:
1078:
1075:
1069:
1066:
1060:
1054:
1048:
1045:
1039:
1036:
1030:
1027:
1021:
1018:
1012:
1010:
1008:
1006:
995:
989:
986:
980:
977:
971:
968:
962:
959:
953:
950:
944:
943:
941:
939:
919:
913:
912:
907:. Archived from
890:
862:
842:
817:
788:National Gallery
744:National Gallery
742:, c. 1470–1480,
649:(c. 1465–1470),
629:National Gallery
572:Bernard Berenson
414:Anonimo Gaddiano
264:National Gallery
214:National Gallery
182:National Gallery
147:
144:
136:
131:
124:
119:
118:
115:
114:
111:
108:
105:
98:
87:
83:
78:
77:
74:
73:
70:
67:
64:
61:
58:
55:
52:
49:
46:
39:
2038:
2037:
2033:
2032:
2031:
2029:
2028:
2027:
2023:Sibling artists
1973:
1972:
1971:
1966:
1956:
1937:
1853:
1848:
1818:
1813:
1784:
1720:
1650:
1644:
1639:
1576:
1479:Campbell, Lorne
1475:
1470:
1469:
1464:
1460:
1455:
1451:
1447:Davies, 443–445
1446:
1442:
1434:
1430:
1425:
1421:
1413:
1409:
1401:
1397:
1392:
1388:
1383:
1379:
1374:
1370:
1365:
1361:
1354:
1350:
1342:
1338:
1333:
1329:
1320:
1316:
1311:
1307:
1302:
1298:
1293:
1289:
1281:
1277:
1272:
1268:
1263:
1259:
1254:
1250:
1245:
1241:
1236:
1232:
1220:
1216:
1211:
1207:
1202:
1198:
1191:
1187:
1182:
1178:
1169:
1165:
1156:
1152:
1147:
1143:
1138:
1134:
1129:
1125:
1117:
1113:
1103:
1099:
1094:
1090:
1085:
1081:
1076:
1072:
1067:
1063:
1055:
1051:
1046:
1042:
1037:
1033:
1028:
1024:
1019:
1015:
1004:
1002:
997:
996:
992:
987:
983:
978:
974:
969:
965:
960:
956:
951:
947:
937:
935:
921:
920:
916:
892:
891:
887:
882:
875:
863:
854:
843:
834:
818:
616:
608:Saint Sebastian
586:Frederick Hartt
547:
511:Saint Sebastian
456:He was born in
454:
445:Cosimo Rosselli
346:Saint Sebastian
233:
145:
137:; also spelled
129:
122:
102:
93:
92:
85:
81:
43:
34:
33:
17:
12:
11:
5:
2036:
2026:
2025:
2020:
2015:
2010:
2005:
2000:
1995:
1990:
1985:
1968:
1967:
1961:
1958:
1957:
1955:
1954:
1953:(c. 1465–1475)
1945:
1943:
1939:
1938:
1936:
1935:
1924:
1923:(c. 1475)
1916:
1915:(c. 1470)
1908:
1907:(c. 1466–1467)
1897:
1896:(c. 1465–1470)
1886:
1878:
1870:
1861:
1859:
1855:
1854:
1847:
1846:
1839:
1832:
1824:
1815:
1814:
1812:
1811:
1799:
1792:
1790:
1786:
1785:
1783:
1782:
1774:
1766:
1758:
1750:
1742:
1733:
1731:
1722:
1721:
1719:
1718:
1710:
1702:
1694:
1686:
1685:(c. 1470–1480)
1678:
1670:
1662:
1661:(c. 1465–1470)
1653:
1651:
1646:
1645:
1638:
1637:
1630:
1623:
1615:
1609:
1608:
1592:
1587:
1582:
1575:
1574:External links
1572:
1571:
1570:
1560:
1551:Giorgio Vasari
1544:
1537:
1520:
1510:
1496:Davies, Martin
1493:
1485:, 1990, Yale,
1474:
1471:
1468:
1467:
1458:
1449:
1440:
1438:; Galli, 68–70
1428:
1419:
1407:
1395:
1386:
1377:
1368:
1359:
1348:
1346:; Galli, 69–73
1336:
1327:
1314:
1305:
1296:
1287:
1275:
1266:
1257:
1248:
1239:
1230:
1214:
1205:
1196:
1185:
1176:
1163:
1150:
1141:
1132:
1123:
1111:
1097:
1088:
1079:
1070:
1061:
1056:Galli, 69–72;
1049:
1040:
1031:
1022:
1013:
990:
981:
972:
963:
954:
945:
914:
884:
883:
881:
878:
877:
876:
864:
857:
855:
844:
837:
835:
819:
812:
809:
808:
804:
803:
791:
779:
767:
760:Palazzo Medici
747:
735:
725:
717:
716:
715:
708:
701:
694:
687:
680:
666:
661:(1467–1468) –
654:
642:
615:
612:
568:Maud Cruttwell
566:complained of
546:
543:
519:, and others.
480:'s workshops.
453:
450:
334:Palazzo Medici
232:
229:
188:Giorgio Vasari
15:
9:
6:
4:
3:
2:
2035:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1986:
1984:
1981:
1980:
1978:
1965:
1959:
1952:
1951:
1947:
1946:
1944:
1940:
1930:
1929:
1925:
1922:
1921:
1917:
1914:
1913:
1909:
1903:
1902:
1898:
1892:
1891:
1887:
1884:
1883:
1879:
1876:
1875:
1871:
1868:
1867:
1863:
1862:
1860:
1856:
1852:
1845:
1840:
1838:
1833:
1831:
1826:
1825:
1822:
1809:
1805:
1804:
1800:
1797:
1794:
1793:
1791:
1787:
1780:
1779:
1775:
1772:
1771:
1767:
1764:
1763:
1759:
1756:
1755:
1751:
1748:
1747:
1743:
1740:
1739:
1735:
1734:
1732:
1729:
1728:
1723:
1716:
1715:
1711:
1708:
1707:
1703:
1700:
1699:
1695:
1692:
1691:
1687:
1684:
1683:
1679:
1676:
1675:
1671:
1668:
1667:
1663:
1660:
1659:
1655:
1654:
1652:
1647:
1643:
1636:
1631:
1629:
1624:
1622:
1617:
1616:
1613:
1606:
1602:
1598:
1597:
1593:
1591:
1588:
1586:
1583:
1581:
1578:
1577:
1569:
1565:
1561:
1558:
1557:
1552:
1548:
1545:
1542:
1538:
1536:
1532:
1528:
1524:
1521:
1519:
1515:
1511:
1509:
1505:
1501:
1497:
1494:
1492:
1488:
1484:
1480:
1477:
1476:
1462:
1453:
1444:
1437:
1432:
1423:
1416:
1411:
1404:
1399:
1390:
1381:
1372:
1363:
1357:
1352:
1345:
1340:
1331:
1324:
1318:
1309:
1300:
1291:
1285:
1279:
1270:
1261:
1252:
1243:
1234:
1227:
1225:
1218:
1209:
1200:
1194:
1189:
1180:
1173:
1167:
1160:
1154:
1145:
1136:
1127:
1120:
1115:
1109:
1108:
1101:
1092:
1083:
1074:
1065:
1059:
1053:
1044:
1035:
1026:
1017:
1000:
994:
985:
976:
967:
958:
949:
934:
933:HarperCollins
930:
929:
924:
918:
910:
906:
902:
900:
895:
889:
885:
873:
869:
868:
861:
856:
853:
849:
848:
841:
836:
832:
829:, 1469–1470,
828:
827:Seven Virtues
824:
823:
816:
811:
810:
806:
805:
801:
797:
796:
792:
789:
785:
784:
780:
777:
773:
772:
768:
765:
761:
757:
753:
752:
748:
745:
741:
740:
736:
733:
729:
726:
723:
722:
718:
714:
713:
709:
707:
706:
702:
700:
699:
695:
693:
692:
688:
686:
685:
681:
679:
678:
674:
673:
671:
667:
664:
660:
659:
655:
652:
648:
647:
643:
640:
639:
635:
634:
630:
626:
625:
620:
611:
609:
605:
604:
599:
593:
591:
587:
583:
582:San Gimignano
579:
578:
573:
569:
565:
557:
556:
551:
542:
540:
535:
530:
527:
526:
520:
518:
517:
512:
508:
504:
501:According to
499:
497:
492:
490:
485:
481:
479:
475:
474:Benedetto Dei
471:
467:
463:
459:
449:
446:
442:
438:
433:
431:
427:
423:
420:. The Boston
419:
415:
410:
408:
404:
400:
399:
394:
390:
386:
382:
378:
377:
376:Seven Virtues
369:
366:, 1469–1470,
365:
364:Seven Virtues
361:
360:
355:
351:
349:
347:
341:
339:
335:
332:done for the
331:
326:
324:
320:
316:
312:
311:
306:
301:
299:
298:
293:
289:
288:
283:
282:
277:
273:
268:
265:
261:
260:
251:
247:
243:
242:
237:
228:
226:
222:
217:
215:
211:
210:Martin Davies
207:
203:
199:
195:
194:
189:
183:
179:
178:
173:
169:
167:
166:human anatomy
163:
159:
155:
151:
140:
135:
127:
126:
117:
96:
90:
89:
76:
37:
31:
23:
19:
1983:1440s births
1963:
1948:
1926:
1918:
1910:
1899:
1888:
1880:
1872:
1864:
1807:
1801:
1776:
1768:
1760:
1752:
1744:
1736:
1725:
1712:
1704:
1696:
1688:
1680:
1672:
1664:
1656:
1641:
1595:
1568:google books
1563:
1554:
1540:
1526:
1513:
1499:
1482:
1461:
1452:
1443:
1431:
1426:Campbell, 88
1422:
1410:
1398:
1389:
1384:Galli, 70–72
1380:
1371:
1362:
1351:
1339:
1330:
1322:
1317:
1308:
1299:
1290:
1278:
1269:
1260:
1251:
1242:
1233:
1223:
1217:
1208:
1199:
1188:
1179:
1166:
1153:
1144:
1135:
1130:Galli, 25–50
1126:
1114:
1106:
1100:
1091:
1082:
1077:Galli, 49–50
1073:
1064:
1052:
1043:
1034:
1025:
1016:
1003:. Retrieved
993:
984:
975:
966:
957:
948:
936:. Retrieved
926:
923:"Pollaiuolo"
917:
909:the original
897:
894:"Pollaiuolo"
888:
865:
845:
826:
821:
793:
781:
769:
749:
737:
727:
719:
711:
704:
697:
690:
683:
676:
656:
644:
636:
622:
607:
601:
597:
594:
589:
575:
564:Wilhelm Bode
561:
553:
531:
523:
521:
514:
510:
500:
495:
493:
486:
482:
469:
461:
455:
436:
434:
429:
425:
421:
411:
401:was done by
397:
388:
374:
372:
363:
358:
345:
342:
327:
308:
302:
295:
285:
279:
269:
257:
254:
239:
220:
218:
202:underdrawing
197:
191:
186:
176:
149:
138:
29:
28:
18:
1988:1496 deaths
1669:(1467–1468)
1436:Museum page
1415:Museum page
1403:Museum page
1356:Museum page
1344:Museum page
1284:Museum page
1170:Sotheby's,
1058:museum page
1047:Wright, 522
1020:Davies, 446
1005:6 September
774:, c. 1475,
432:in Berlin.
424:and Uffizi
362:, from the
290:of 1483 in
272:altarpieces
244:(c. 1470),
150:Piero Benci
146: 1443
1977:Categories
1942:Engravings
1754:Temperance
1535:0500235104
1508:0901791296
1491:0300046758
1473:References
1375:Wright, 13
1273:Wright, 19
1246:Wright, 79
1237:Wright, 11
1203:Wright, 25
1183:Hartt, 313
822:Temperance
691:Temperance
663:altarpiece
590:Coronation
470:pollaiuolo
403:Botticelli
1934:(c. 1475)
1877:(c. 1460)
1869:(c. 1460)
1858:Paintings
1803:Fortitude
1798:(brother)
1701:(c. 1475)
1693:(c. 1471)
1677:(c. 1470)
1649:Paintings
1465:Galli, 35
1456:Galli, 49
1334:Galli, 36
1303:Galli, 45
1264:Galli, 33
1212:Wright, 2
1139:Galli, 72
1095:Galli, 49
1038:Wright, 1
988:Wright, 9
970:Galli, 42
825:from the
734:, Boston.
558:, c. 1466
478:goldsmith
452:Biography
441:Sotheby's
398:Fortitude
315:monograph
152:, was an
139:Pollaiolo
1789:See also
1762:Prudence
1605:50.135.3
850:, 1471,
698:Prudence
458:Florence
439:sold at
379:for the
330:Hercules
276:Hercules
158:Florence
130:Italian:
1808:Virtues
1778:Justice
1738:Charity
1727:Virtues
1547:"Vasari
1107:Justice
938:29 July
712:Justice
677:Charity
598:Virtues
468:, and
466:Italian
462:pollaio
359:Justice
262:in the
198:disegno
1781:(1470)
1773:(1470)
1765:(1470)
1757:(1470)
1749:(1470)
1741:(1469)
1730:series
1717:(1483)
1533:
1506:
1489:
899:Lexico
852:Uffizi
831:Uffizi
776:Uffizi
756:Uffizi
670:Uffizi
600:, the
407:Uffizi
368:Uffizi
338:Uffizi
319:Uffizi
1746:Faith
880:Notes
684:Faith
651:Turin
614:Works
545:Style
539:dowry
430:David
418:gesso
250:Milan
156:from
84:-eye-
1770:Hope
1599:, a
1531:ISBN
1504:ISBN
1487:ISBN
1224:Life
1007:2019
940:2019
705:Hope
422:Lady
123:POHL
88:-loh
1549:":
592:).
580:in
307:'s
86:WOH
82:POL
1979::
1607:).
1525:,
1498:,
1481:,
931:.
925:.
903:.
896:.
870:,
730:,
541:.
300:.
248:,
143:c.
141:;
128:,
116:-/
110:oʊ
97::
95:US
91:,
72:oʊ
66:oʊ
57:aɪ
38::
36:UK
1932:✻
1905:✻
1894:✻
1843:e
1836:t
1829:v
1634:e
1627:t
1620:v
1559:.
1228:.
1009:.
942:.
125:-
113:l
107:p
104:ˌ
101:/
75:/
69:l
63:w
60:ˈ
54:l
51:ɒ
48:p
45:ˌ
42:/
32:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
