List Price:
Price: $67.99
You Save: $27.01 (28%)
Description
Andrea del Verrocchio was the preeminent sculptor in late fifteenth-century Florence and one of the leading artists in Renaissance Europe. In every genre of statuary, Verrocchio made formal and conceptual contributions of the greatest significance, and many of his sculptures, such as the Christ and St. Thomas and the Colleoni Monument, are among the masterpieces of Renaissance art. A favorite artist of Lorenzo de' Medici and the teacher of Leonardo da Vinci, Verrocchio was a key link between the innovations of the fifteenth century and the creations of the High Renaissance.This beautiful catalogue raisonne is the first comprehensive and detailed study of Verrocchio's extraordinary and innovative sculptures. Andrew Butterfield has combined careful visual analysis of the sculptures with groundbreaking research into their function, iconography, and historical context. In order to explain Verrocchio's contributions to the different genres of Renaissance sculpture, Butterfield provides new and important information on a broad range of issues such as the typology and social history of Florentine tombs, the theoretical problems in the production of perspectival reliefs, and the origins of the Figura serpentinata. Furthermore, Butterfield draws on a spectrum of often overlooked texts to elucidate fundamental iconographical problems, for example, the significance of David in quattrocento Florence.
In its scope, depth, and clarity, The Sculptures of Andrea del Verrocchio will rank as one of the finest studies of an Italian sculptor ever published.
New York TimesDella Robbia: A Story of Invention and ImmortalityIn the 1470s, Andrea's style showed affinities to those of Antonio Rossellino and Verrocchio. The studio took in its stride the emergence in the 1490s of Savonarola, indeed Andrea was evidently a supporter of the Domenican hell-fire preacher against
El InformadorRecrea con humor plástico costarricense la obra del pintor BoticcelliTrabajó con el pintor y grabador Antonio del Pollaiuolo, del que aprendió el dominio de la línea y así como la influencia de Andrea del Verrocchio. En 1470, Boticcelli tenía su propio taller. Dedicó casi toda su vida a trabajar para las grandes