Who is andrea del verrocchio
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(b Florence, c.1432; d Rome, ?4 Feb. 1498) and Piero (b Florence, c.1441; d Rome, c.1496). Florentine artists, brothers, who jointly ran a flourishing workshop, first in their native city and then from about 1484 in Rome. Their surname means ‘poulterer’, evidently a reference to their father's profession. Both of them are recorded as being painters and sculptors and there are considerable problems in attempting to disentangle their individual contributions to their output. However, Antonio was evidently the dominant figure and primarily a goldsmith and worker in bronze, whilst Piero was mainly a painter. Several documented paintings by Piero are known, all of fairly undistinguished quality, but none by Antonio, and as certain pictures from the studio of the two brothers are so much better than Piero's independent works, it is generally assumed that Antonio had a major involvement in them.
The most important of these pictures is the Martyrdom of St Sebastian in the National Gallery, London,
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Antonio del Pollaiuolo
Italian painter, sculptor, and engraver (d. 1498)
"Pollaiuolo brothers" redirects here. For Antonio's brother, see Piero del Pollaiuolo.
Antonio del Pollaiuolo (POL-eye-WOH-loh,[1]POHL-,[2]Italian:[anˈtɔːnjodelpollaˈjwɔːlo]; 17 January 1429/1433 – 4 February 1498), also known as Antonio di Jacopo Pollaiuolo or Antonio Pollaiuolo (also spelled Pollaiolo), was an Italian Renaissance painter, sculptor, engraver, and goldsmith, who made important works in all these media, as well as designing works in others, for example vestments, metal embroidery being a medium he worked in at the start of his career.
His most characteristic works in his main media show largely naked male figures in complicated poses of violent action, drawing from classical examples and often centred on a heroic Hercules. He, or possibly his brother, was also an innovative painter of wide landscape backgrounds, perhaps having learnt from Early Netherlandish painting.[3] His two papal tombs were the only monuments to survi
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Antonio Pollaiuolo (1427-79)
Bronze Statuettes
Antonio Pollaiuolo's background and skill as a goldsmith enabled him to respond to the taste for small bronze sculpture, which became more popular in the last third of the 15th century. The statuettes, frequently patinated to resemble antique bronzes, were meant for connoisseurs. Two surviving works include Hercules and Anteus (1470, Uffizi) and Hercules (c.1470, Frick Collection, New York).
Painting: Study of Human Anatomy
Working closely throughout their lives, the two brothers famously preceded Leonardo da Vinci in dissecting human corpses to better understand anatomy, which became a defining skill in their work. Antonio was particularly skilled in depicting the human figure in action and this can be seen in his painting Hercules Clubs the Hydra (1475, Uffizi, Florence) and his only surviving engraving Battle of the 10 Nude Men (c.1470, Uffizi). Hercules Clubs the Hydra is a small panel, part of a set (other panels now missing) painted for Lorenzo de' Medici. Hercules is depicted fighting heroically
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