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799:. Verrocchio made a model of his proposed sculpture using wood and black leather, while the others made models of wax and clay. The three models were exhibited in Venice in 1483 and the contract was awarded to Verrocchio. 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. 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
811:
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" and that, as sculpture, "it far surpasses anything the century had yet aspired to or thought possible". He points out that both man and horse are equally fine and together are inseparable parts of the sculpture.
619:, which had been removed. He therefore had the problem of placing two statues (more than life size) in a niche originally intended for one. As Covi says, the problem was resolved "in a most felicitous manner". 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."
503:, carrying the fish with which he was to heal his father's blindness, was probably painted as a private devotional picture. It is an early work which has formerly been attributed to Pollaiuolo and other artists. Covi thinks that it was probably painted with assistance from Ghirlandaio. It is now in London at the National Gallery.
345:
Verrocchio was born in
Florence in around 1435. His father, Michele di Francesco Cioni, initially worked as a tile and brick maker, then later as a tax collector. Verrocchio never married, and had to provide financial support for some members of his family. He was at first apprenticed to a goldsmith.
810:
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. Although it was not placed where
814:
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". This is in contrast to Donatello's statue at Padua of the condottiere known as
645:. The ball was ingeniously made of sheets of copper soldered together and hammered into shape and then gilded. It was completed by the spring of 1471. (The cross on top was made by other hands). The ball was struck by lightning and fell on 27
491:
in London (cat. 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.
361:
Little is known about his life. 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. His workshop was in Florence where he was a member of the
1012:
The lavabo has not always been accepted as his work. 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. (Covi pp.
1253:
Freiberg, Jack (2010): "Verrocchio's Putto and Medici Love". David A. Levine, & Jack
Freiberg (Eds.), Medieval Renaissance Baroque: A Cat's Cradle for Marilyn Aronberg Lavin. New York: Italica Press, pp.
674:
was commissioned by Piero de'Medici. 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. It was purchased by the
469:
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.
402:
also visited or worked in
Verrocchio's studio. Of the artist's pedagogy the Florentine poet Ugolino Verino wrote: "Whatever painters have that is good they drank from Verrocchio's spring".
783:. 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
317:
after the surname of his master, a goldsmith. Few paintings are attributed to him with certainty, but important painters were trained at his workshop. His pupils included
737:
871:
779:, 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
524:, Andrea resolved never to touch the brush again because Leonardo, his pupil, had far surpassed him, but later critics consider this story apocryphal.
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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".
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San Marco. A competition was arranged to enable a sculptor to be selected. Three sculptors competed for the contract, Verrocchio from Florence,
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In 1467 the Tribunale della Mercanzia, the judicial organ of the Guilds in Florence, commissioned from Verrocchio a bronze group portraying
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considered that it is contradicted by the style of his early works. It has been suggested that he was trained as a painter under
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under the altar of the same church, and in 1472 he completed the monument to Piero and Giovanni de' Medici in the Old Sacristy.
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1379:, online exhibition catalog from The Metropolitan Museum of Art, which contains material on Andrea del Verrocchio (see index)
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693:. For this figure, the Master is purported to have used the young Leonardo, a newcomer to his workshop, as his model.
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At a date unknown (suggestions range from 1465 to 1480: Pope-Hennessy said about 1470) he finished in bronze a
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1283:& Jill Dunkerton: "Andrea del Verrocchio's first surviving panel and other early works" in
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were also involved and their early works can be hard to distinguish from works by Verrocchio.
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712:. It was replaced with a copy by Bruno Bearzi and since 1959 has been kept in a room in the
413:, leaving the Florentine workshop in charge of Lorenzo di Credi. He died in Venice in 1488.
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to do this. The statue was eventually erected on a pedestal made by Leopardi in the
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in Rome is also now in the Bargello at Florence. Verrocchio had been at work in the
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at Florence is probably from the later 1470s. The identity of the lady is unknown.
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Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women
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Good photographs can be found in the Web Gallery of Art at www.wga.hu/index1.html
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in Florence. Verrocchio's David is a young lad, modestly clad, contrasting with
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Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle
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from Piero's heirs Lorenzo and Giuliano de' Medici in 1476 and is now at the
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at Florence, was painted in 1474–75. In this work Verrocchio was assisted by
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Around 1465 Verrocchio is believed to have worked on the lavabo of the
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passed through his workshop as apprentices. Beyond this, artists like
964:"Andrea del Verrocchio: Sculptor and Painter of Renaissance Florence"
700:(winged boy) with Dolphin, originally intended for a fountain in the
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615:, which the Tribunale had recently purchased, to replace a statue of
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329:. His greatest importance was as a sculptor and his last work, the
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The relief for the funerary monument of Francesca Tornabuoni for
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At the end of his life, Verrocchio opened a new workshop in
1346:. Vol. 27 (11th ed.). Cambridge University Press.
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Between 1465 and 1467 he executed the funerary monument to
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201:
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Funerary Monument to Cardinal Niccolo Forteguerri, Pistoia
872:
The American Heritage Dictionary of the English Language
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when Verrocchio was in Venice near the end of his life.
346:
It has been suggested that he was later apprenticed to
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For life see Passavent pp. 5–9. Pope-Hennessy p. 310.
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Madonna enthroned with John the Baptist and St Donato
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213:
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Andrea del Verrocchio at the National Gallery of Art
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and later brought to Florence for a fountain in the
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27:
15th century Italian sculptor, goldsmith and painter
1359:
Andrea Verrocchio: 16th-century biography by Vasari
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The marble bust of a lady with a bunch of flowers (
535:. It had been left unfinished and was completed by
248:
204:
633:Also in 1468 he contracted to make a golden ball (
622:In 1468 Verrocchio made a bronze candlestick (1.57
1510:
743:
1289:Vol.CLIII No.1299 (June 2011) pp. 368–378.
472:A painting of the Madonna with seated child in
1260:Verrocchio: sculptures, paintings and drawings
1003:Passavent pp. 48–51 & 188. Covi pp. 201–3.
1398:
1326:Andrea del Verrocchio in the "History of Art"
865:
306:who was a master of an important workshop in
649:January 1601 but was reconstructed in 1602.
611:for the central niche of the east facade of
484:) is considered an early work of 1468–1470.
337:, is generally accepted as his masterpiece.
1205:
1405:
1391:
1365:List of sites displaying Verrocchio's work
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40:
1412:
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1452:Equestrian statue of Bartolomeo Colleoni
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750:Equestrian statue of Bartolomeo Colleoni
637:) to be placed on top of the lantern of
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409:, where he was working on the statue of
331:Equestrian statue of Bartolomeo Colleoni
285:Andrea di Michele di Francesco de' Cioni
167:Equestrian statue of Bartolomeo Colleoni
59:Andrea di Michele di Francesco de' Cioni
1209:The Sculptures of Andrea del Verrocchio
1177:Penguin Dictionary of Art & Artists
962:Kleinbub, Christian (6 November 2019).
740:, when he departed for Venice in 1483.
652:In the early 1470s he made a voyage to
350:, but there is no evidence of this and
14:
1511:
920:
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1301:from the original on 30 October 2013
1233:Andrea del Verrocchio: life and work
1230:
499:setting out on his journey with the
915:
141:(painting) – with Leonardo da Vinci
24:
1355:biography of Andrea del Verrocchio
1185:
1059:. Duckworth and Company. pp.
807:in Venice, where it stands today.
775:, a former Captain General of the
25:
1575:
1321:Biography at World Gallery of Art
1314:
1470:Virgin and Child with Two Angels
1361:A reprint of Vasari's biography.
1295:"Traces of Soul, Mind, and Body"
1293:Wivel, Matthias (22 July 2010).
656:, while in 1474 he executed the
630:, for the Signoria of Florence.
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1136:Pope-Hennessy pp. 65 & 315.
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280:[anˈdrɛːadelverˈrɔkkjo]
1534:15th-century Italian sculptors
1337:"Verrocchio, Andrea del"
1195:. Princeton University Press.
979:
970:
955:
936:
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900:Merriam-Webster.com Dictionary
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764:, Verrocchio, cast by Leopardi
660:monument for the Cathedral of
313:He apparently became known as
13:
1:
1564:Italian Renaissance sculptors
1529:15th-century Italian painters
1275:Italian Renaissance Sculpture
924:Syson & Dunkerton p. 378.
875:(5th ed.). HarperCollins
822:
744:Statue of Bartolomeo Colleoni
495:A small painting on panel of
366:. Several great artists like
288:
62:
1549:Italian Renaissance painters
1206:Butterfield, Andrew (1997).
947:. New York: Reynal and Co.,
945:The Complete Work of Raphael
710:Grand Duke Cosimo de' Medici
664:, which he left unfinished.
542:
169:(bronze sculpture – cast by
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1258:Passavant, Günter (1969).
1191:Brown, David Alan (2003).
949:William Morrow and Company
943:Becherucci, Luisa (1969).
841:Collins English Dictionary
747:
46:Portrait of Verrocchio by
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734:Santa Maria sopra Minerva
626:metres high), now in the
426:Madonna with seated Child
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103:
81:
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1173:Peter & Linda Murray
1554:Italian Roman Catholics
1429:Christ and Saint Thomas
1352:Encyclopædia Britannica
1343:Encyclopædia Britannica
1231:Covi, Dario A. (2005).
702:Medici villa of Careggi
578:National Gallery of Art
340:
294:– 1488) was an Italian
1559:Painters from Florence
1544:Italian male sculptors
1073:Butterfield pp. 18–31.
805:Santi Giovanni e Paolo
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706:Palazzo della Signoria
628:Rijksmuseum, Amsterdam
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1539:Italian male painters
1494:The Baptism of Christ
1414:Andrea del Verrocchio
1214:Yale University Press
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643:the Duomo in Florence
617:St. Louis of Toulouse
608:Christ and St. Thomas
589:San Lorenzo, Florence
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476:on panel (now in the
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190:Andrea del Verrocchio
145:Christ and St. Thomas
139:The Baptism of Christ
34:Andrea del Verrocchio
1486:Tobias and the Angel
1118:Passavent pp. 180–1.
1100:Passavent pp. 174–6.
1082:Passavent pp. 173–4.
994:Passavent pp. 45–48.
677:Signoria of Florence
553:Christ and St Thomas
478:Berlin State Museums
446:Tobias and the Angel
376:Domenico Ghirlandaio
133:Tobias and the Angel
75:Republic of Florence
1286:Burlington Magazine
1271:Pope-Hennessy, John
1127:Passavent pp. 62–3.
801:Alessandro Leopardi
789:Alessandro Leopardi
761:Bartolomeo Colleoni
574:Giuliano de' Medici
411:Bartolomeo Colleoni
380:Francesco Botticini
182:Italian Renaissance
171:Alessandro Leopardi
155:Putto with a Dolfin
48:Andrea del Castagno
1445:Woman with Flowers
1297:. The Metabunker.
1179:under 'Verrocchio'
793:Bartolomeo Vellano
777:Republic of Venice
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722:Dama col mazzolino
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487:A painting in the
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164:(bronze sculpture)
157:(bronze sculpture)
97:Republic of Venice
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1109:Passavent p. 174.
903:. Merriam-Webster
669:bronze statue of
596:Cosimo de' Medici
533:Pistoia Cathedral
518:Leonardo da Vinci
509:Baptism of Christ
501:Archangel Raphael
463:Baptism of Christ
368:Leonardo da Vinci
356:Fra Filippo Lippi
319:Leonardo da Vinci
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