Word: verrocchio
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Dates: during 1930-1939
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...contract with the Venetian Republic. He agreed to lead the Venetian army against Milan in return for a large sum in cash and a statue of himself on horseback in the middle of St. Mark's Square. The statue was finally erected blocks away, but it was by Verrocchio. It is now generally considered the greatest equestrian statue in the world...
...Dossena sculptures had been sold as original antiques by the great Renaissance artists: Donatello, Verrocchio, Mino da Fiesole, Niccola Pisano, etc., etc. Newspapers, promptly dubbed him "world's greatest forger," and before the excitement was over the notorious Elia Volpi and several other over-shrewd dealers found themselves fined, exposed, and once more in possession of carloads of spurious sculpture. Sculptor Dossena remained within the law. He never sold his work direct to museum or collector, never, so far as investigators could discover, pretended that they were anything but his own work. Nor did he make money. Dealers paid...
...Florentine Foundling Hospital. Their designer was not Cleveland's Luca Delia Robbia (1400-82), but his prolific nephew, Andrea. Luca, however, perfected the enamel-coated terra cotta ware of which they are made. A suave sculptor, he lacked the virility of his great contemporaries (Verrocchio, Donatello) but had an able talent, designed a number of pieces beloved by romantics. His greatest was the series of singing angels and dancing boys which form the "singing gallery" in the choir of Florence's striped cathedral. Little of his original sculpture exists, for Luca, his nephew Andrea's five sons...
...such a vital interest in the phenomenon of the human personality, and so it is not surprising to find that the Italian sculptors represented in the Fogg Museum have mirrored the multiple facets of that interest in their works. The arrogance and strength of the Renaissance prince speaks in Verrocchio's Giuliano dei Medici, the refinement and culture of the day, in Desiderio's Giovanna degli Albizzi. The mystic, contemplative personality is portrayed in Donatello's St. John, and, in the Madonna that della Robbia has set against an infinite blue sky, we have the religious sincerity that survived...
...work of the two men, Verrocchio the realist and Desiderio the exquisite sentimentalist, dominates the exhibition. The same Verrocchio who produced the mighty Colleoni has given us the forceful bust of Giuliano dei Medici. The sculptor has portrayed Lorenzo's brother as the victor in the great Tournament of 1475, the here of Politian's Stanze rejoicing in his youth and virile beauty. The tilt of the noble head, the pride of race stamped on the curling lips and firm-set jaw make this not only the portrait of a Medici but of the whole class of cultured despots...