Null After Andrea DEL VERROCCHIO
(1435-1488)
Putto catching a dolphin
Black pat…

Description

After Andrea DEL VERROCCHIO (1435-1488) Putto catching a dolphin Black patina bronze proof. Late 19th - early 20th century. H : 13 cm The original, circa 1470, is in the Palazzo Vecchio, Florence.

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After Andrea DEL VERROCCHIO (1435-1488) Putto catching a dolphin Black patina bronze proof. Late 19th - early 20th century. H : 13 cm The original, circa 1470, is in the Palazzo Vecchio, Florence.

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After ANDREA DEL VERROCCHIO (Florence, 1435 - Venice, 1488). "The Condottiero Bartolomeo Colleoni". Bronze. Ferdinand Barbedienne Fondeur. Measurements: 16 x 43 x 17 cm. Replica in medium format of the equestrian monument in bronze dedicated to the Condottiero Bartolomeo Colleoni, 395 cm high without the pedestal, realized by Andrea del Verrocchio between 1480 and 1488 and located in Venice, in the square of Saints John and Paul. It is the second equestrian statue of the Renaissance, after the monument to Gattamelata by Donatello in Padua, 1446-53. Its history dates back to 1479, when the Republic of Venice decreed the realization of an equestrian monument dedicated to this Condottiero, who died three years earlier, to be placed in the Piazza dei Santi Giovanni e Paolo. In 1480 Verrocchio was commissioned to execute it, and he began the work in his workshop in Florence. In 1481 the wax model was sent to Venice, where the artist went in 1486 to personally direct the casting of the final model, in lost-wax bronze. Andrea Verrocchio died in 1488 with the work unfinished, although the wax model was to remain, and in his will he determined that Lorenzo di Credi should continue the project. However, the Venetian Signoria preferred the local artist Alessandro Leopardi, a painter and sculptor, multidisciplinary in the modern way, as Verrocchio himself had been. The Florentine artist based the creation of the monument on the equestrian statue of Donatello's Gattamelata, the ancient statues of Marcus Aurelius and the horses of St. Mark (13th century) and of the Regisole (a work of late antiquity in Pavia, lost in the 18th century). There were also frescoes by Giovanni Acuto, Paolo Ucello and Andrea del Castagno. There was, on the other hand, the important technical problem of representing the horse with a raised front leg, in a majestic forward position, which Donatello had prudently solved by placing a sphere under the raised leg. Verrocchio will be the first to succeed in erecting an equestrian statue supported only on three legs.

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