He therefore had the problem of placing two statues (more than life size) in a tabernacle originally intended for one. Yale University Press, New Haven, 1998, ISBN 0-300-07246-5; Franziska Windt: Andrea del Verrocchio und Leonardo da Vinci: Zusammenarbeit in Skulptur und Malerei. At the end of his life, Verrocchio opened a new workshop in Venice, where he was working on the statue of Bartolomeo Colleoni, leaving the Florentine workshop in charge of Lorenzo di Credi. We will send you hand-picked innovation know-how in the monthly verrocchio Notes. 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. His greatest importance was as a sculptor and his last work, the Equestrian statue of Bartolomeo Colleoni in Venice, is generally accepted as a masterpiece. Heute ist die Zusammenführung von unterschiedlichen kreativen Kompetenzen übrigens ein Grundprinzip erfolgreicher Innovationsteams. Andrea is also the several generation grandfather of Italian entrepreneur, Paul M. Verrochi. Er wurde im Jahre 1435 als viertes Kind des Ziegelbrenners Michele di Francesco Cioni und dessen Frau Gemma in Florenz geboren. April 1452 – 2. For life see Passavent pp. Es ist das Hauptwerk unter den Gemälden Verrocchios und stammt aus der zweiten Hälfte des 15. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. For this reason, your data will be safe with us and we will never pass them on to third parties. Another relief dates from 1478/79, when it was decided to extend the silver altar in the baptistery of the cathedral of Florence, and one of the four supplementary scenes was allotted to Verrocchio. He was also in charge of the studio that Leonardo was accepted into at age 14. Das Werk wurde wahrscheinlich um 1470 angefertigt, als Leonardo 18 Jahre alt war. Bei Recherchen zum Werdegang des Genies tauchte dabei immer wieder ein Name auf: Andrea del Verrocchio. Er war der führende florentinische Bildhauer seiner Zeit. Largely executed by his pupil Lorenzo di Credi, its handling is inconsistent with that of the Baptism of Christ (c. 1470–75), which has been attributed to Verrocchio ever since it was first mentioned in 1550 by the Renaissance biographer Giorgio Vasari (1511–74) in his Vite de’ più eccellenti pittori, scultori, ed architettori italiani… (Lives of the Most Eminent Italian Painters, Sculptors, and Architects…). The statue was eventually erected on a pedestal made by Leopardi in the Santi Giovanni e Paolo in Venice, where it stands today.[24]. The relief for the funerary monument of Francesca Tornabuoni for Santa Maria sopra Minerva in Rome is also now in the Bargello at Florence. Pope-Hennessy p. 310. This compositional device allows the hands, as well as the face, to express the character and mood of the sitter. Kurz darauf, vermutlich am 30.6.1488, starb er an den Folgen einer Erkältung, die er sich bei der Erstellung des Reiterdenkmals für den Söldnerführer Colleoni zugezogen hatte. Beruflich war er in Venedig und Florenz tätig. Sandro Botticelli, the major Florentine painter of the late 15th century, and Francesco di Giorgio, the important Sienese artist, clearly oriented themselves toward Verrocchio’s art in certain phases of their development, as did the prominent Florentine sculptors Benedetto da Maiano and Andrea Sansovino. Covi thinks that it was probably painted with assistance from Ghirlandaio. The mural painter Domenico Ghirlandaio, Michelangelo’s master, was temporarily in close contact with Verrocchio. B. Hubschrauber und Roboter). This work was followed by his first major commission, the tomb of Piero and Giovanni de’ Medici in the Old Sacristy of San Lorenzo. Leonardo da Vinci may have painted this early portrait of the Florentine Ginevra de’ Benci while still a pupil in Verrocchio’s workshop. Let us know if you have suggestions to improve this article (requires login). Hier lebte und arbeitete er weitere zehn oder elf Jahre und wird bis 1477 immer noch als Schüler oder Lehrling Verrocchios bezeichnet. In 1475 the Condottiero Colleoni, a former Captain General of the Republic of Venice, 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 Piazza San Marco. Andrea, der eigentlich in der Goldschmiedekunst ausgebildet worden war, arbeitete sich als Allroundkünstler hoch, um für seine Familienangehörigen ausreichend sorgen zu können. Sie suchen die noch unentdeckten Probleme Ihrer Kunden? In 1488 while in Venice, Verrocchio died. 48–51 & 188. Discover anything and everything about Leonardo da Vinci. [21] It was replaced with a copy by Bruno Bearzi and since 1959 has been kept in a room in the Palazzo Vecchio. As he says "It's a poor pupil who does not surpass his master" and Andrea was his first teacher in art. Freiberg, Jack (2010): "Verrocchio's Putto and Medici Love". 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 had been left unfinished and was completed by Lorenzo di Credi when Verrocchio was in Venice near the end of his life. [4] Little is known about his life. Verrocchio war nicht nur ein bedeutender Künstler dieser Zeit, er galt vor allem als großer Lehrmeister und erkannte früh die Talente des jungen Leonardo da Vinci. In this work Verrocchio was assisted by Leonardo da Vinci, then a youth and a member of his workshop, who painted the angel on the left and the part of the background above. Several great artists like Leonardo da Vinci and Lorenzo di Credi passed through his workshop as apprentices. The Baptism of Christ, now in the Uffizi Gallery at Florence, was painted in 1474–75. It appears that Verrocchio produced few works for patrons outside of Florence. 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". (The cross on top was made by other hands). In the mid-16th century it was reinstalled on top of a fountain designed for the courtyard of the Palazzo Vecchio in Florence (the original is now kept in the Palazzo Vecchio museum; the present fountain figure is a copy). After the mid-1470s Verrocchio dedicated himself principally to sculpture, in which he manifested strong personal convictions and an inventive ability. Sie war gleichzeitig eine gut besuchte Ausbildungsstätte für junge Künstler der Hochrenaissance (unter anderen Sandro Botticelli, Lorenzo di Credi, Leonardo da Vinci und Perugino). Verrocchio--meaning "true eye." It has been suggested that he was trained as a painter under Fra Filippo Lippi. In his studio he studied not only painting but sculpture and mechanics. Lehrjahre bei Verrocchio. Sie suchen nach spannenden Innovationssuchfeldern? David A. Levine, & Jack Freiberg (Eds. So liebte er es im Kreise seiner Freunde zur Laute zu greifen und kräftig mitzusingen. Wer ist Mona Lisa? Obwohl sein Vater beruflich bis zum Steuereinnehmer aufsteigen konnte, ging es der Familie nach dessen frühem Tod sehr schlecht. In der Praxis sieht das oft anders aus. His master has traditionally been recorded as a supposed goldsmith, Giuliano Verrocchi, whose last name Andrea apparently took as his own. Even while he was in Venice his Florentine workshop was maintained and directed by his favourite student, Lorenzo di Credi. Seit vielen Jahren sind die 7 Lebensprinzipien Leonardos auch ein wichtiger Baustein unserer Ausbildung zum Innovation Coach denn sie zeigen auf faszinierende Art und Weise, welche Haltung für innovative Schaffenskraft entscheidend ist. In Venedig verfaßte er am 25.6.1488 sein Testament, in dem er die Obliegenheiten seiner Werkstatt seinem Lieblingsschüler Lorenzo di Credi übertrug. Seated before a shimmering landscape seen through a veil of light and atmosphere, the young Ginevra regards the viewer with a … Solo in una terza fase, quella finale, venne chiesto a Leonardo da Vinci, allievo del Verrocchio, di ultimare il dipinto cercando di uniformare le parti già dipinte. Zudem versorgte ihn Lorenzo de' Medici (Abb. There is a story that when Little Leonardo assisted him with the angels in the lower left hand corner of the painting to the left that he said he would give up painting because a youth could do better than he ever could - probably not totally true but shows how quickly da Vinci grew into a great artist. But it is assumed that he and Sandro Botticelli worked together under the early Renaissance master Fra Filippo Lippi in Prato, a city near Florence, where Lippi had been commissioned to execute a series of murals for the cathedral. The lavabo has not always been accepted as his work. c. 1435–1488 born Andrea di Michele di Francesco de' Cioni, was an Italian sculptor, goldsmith and painter who worked at the court of Lorenzo de' Medici. [8] The name has gradually evolved into the name Verrochi. [5] Giovanni Santi records that Botticelli, Luca Signorelli, and a young Filippino Lippi also visited or worked in Verrocchio's studio. The latter work created a new type of Renaissance bust, in which the arms of the sitter are included in the manner of ancient Roman models. His greatest importance was as a sculptor and his last wo… As Covi says, the problem was resolved "in a most felicitous manner". Il padre, Michele di Cione, era fabbricante di piastrelle e successivamente esattore delle tasse. In 1483 Verrocchio was commissioned by the Venetian government to undertake a second major work in bronze, a commemorative statue of Bartolomeo Colleoni, a condottiere, or professional soldier, who had been employed by the Venetian republic. Think you know your artists? (In 2009 one Leonardo da Vinci scholar suggested that two figures on the altar—the leftmost figure of the youth and the turbaned guard [seen from behind] about to draw his weapon—may have been fashioned by Leonardo.) Are you wondering what the job of an Innovation Coach looks like? He was also in charge of the studio that Leonardo was accepted into at age 14. c. 1435–1488 born Andrea di Michele di Francesco de' Cioni, was an Italian sculptor, goldsmith and painter who worked at the court of Lorenzo de' Medici. Are you willing to make yourself familiar with new innovation methods? 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 Alessandro Leopardi to do this. Contrived with great technical assurance and modeled with power and sensitivity, it forms a fitting climax to Verrocchio’s sculptural career. According to Giorgio Vasari, Andrea resolved never to touch the brush again because Leonardo, his pupil, had far surpassed him, but later critics consider this story apocryphal. Seine Freizeit gehörten der Geometrie und der Musik. He was the son of Michele di Francesco Cioni, a maker of bricks and tiles who later became a tax collector. Andrea non si sposò mai e dovette provvedere al sostentamento di alcuni tra i suoi fratelli e sorelle, a causa dei problemi economici della sua famiglia. 102), Pietro Perugino († 1523) (Abb. Bartolomeo Colleoni, bronze equestrian statue by Andrea del Verrocchio, c. 1479–92; in Campo di Santi Giovanni e Paolo, Venice. Bis heute staunen wir über seine Erfindungen, die ihrer Zeit teilweise hunderte von Jahren voraus waren (wie z. Sua madre Gemma mise al mondo otto figli ed Andrea fu il quinto. Andrea del Verrocchio , born Andrea di Michele di Francesco de' Cioni, was an Italian painter, sculptor, and goldsmith who was a master of an important workshop in Florence. Passavent pp. A penetrating realism distinguishes his terra-cotta bust of Giuliano de’ Medici (c. 1475/78) from the idealization of the individual that characterizes his marble bust known as Lady with Primroses (also called Woman Holding Flowers) (1475–80). Ordered in 1476, the cenotaph was still unfinished when Verrocchio died, and its completion was entrusted first to Lorenzo di Credi, then to Lorenzetti, and finally to a minor Italian Baroque sculptor. Perhaps the most important work Verrocchio executed in Florence was a bronze group of Christ and St. Thomas commissioned for a niche in the east exterior wall of the Or San Michele in Florence. Um 1472 findet sich sein Name in den Listen der St.-Lukas-Gilde, der Malergilde von Florenz. Di Credi was also the administrator and principal heir of Verrocchio’s estate. Charles Nicholl: Leonardo da Vinci – Die Biographie. Verrocchio’s reputation was widespread in the second half of the 15th century and many well-known artists of the Italian Renaissance studied painting and sculpture at his Florentine studio. Britannia Kids Holiday Bundle! He was an artist of the earlier Florentine school--a carver of stone, a worker in metals, a painter. Besides Donatello’s monument to the condottiere Gattamelata (c. 1447–53) at Padua, Verrocchio’s Colleoni monument is aesthetically the most important equestrian statue of the Renaissance. This page was last edited on 17 October 2020, at 05:40. Andrea del Verrocchio hieß in Wirklichkeit Andrea di Michele di Francesco da Cioni, nannte sich jedoch nach seinem Lehrer Verrocchio. [19] Verrocchio's David is a young lad, modestly clad, contrasting with Donatello's provocative David. Covi pp. The ball was ingeniously made of sheets of copper soldered together and hammered into shape and then gilded. https://www.britannica.com/biography/Andrea-del-Verrocchio, Art Encyclopedia - Biography of Andrea del Verrocchio, Web Gallery of Art - Biography of Andrea del Verrocchio, Andrea del Verrocchio - Student Encyclopedia (Ages 11 and up). The putto, sometimes called a cupid, is precisely balanced in the projection of its limbs and probably was placed initially on a fountain so that it could be turned by the pressure of streams or jets of water. At Verrocchio’s death the model was not yet cast, and the work of casting and chasing, or polishing, was entrusted to the Venetian sculptor Alessandro Leopardi. So unterstützte er, der unverheiratet blieb, auch noch später die Familie seiner Schwester Margherita, deren Kinder sogar vorübergehend in seinem Haus wohnten, und sorgte zudem für den Lebensunterhalt und die Mitgift seiner Nichten, Marietta und Agnoletta, den Töchtern seines Bruders Tommaso. Leonardo da Vinci may have painted this early portrait of the Florentine Ginevra de’ Benci while still a pupil in Verrocchio’s workshop. 50–56), Good photographs can be found in the Web Gallery of Art at www.wga.hu/index1.html, Funerary Monument to Cardinal Niccolo Forteguerri, Pistoia, https://brooklynrail.org/2019/11/artseen/Andrea-del-Verrocchio-Sculptor-and-Painter-of-Renaissance-Florence, Andrea del Verrocchio in the "History of Art", Andrea Verrocchio: 16th-century biography by Vasari, List of sites displaying Verrocchio's work, Andrea del Verrocchio at the National Gallery of Art, https://en.wikipedia.org/w/index.php?title=Andrea_del_Verrocchio&oldid=983943137, Short description is different from Wikidata, Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference, Wikipedia articles with CANTIC identifiers, Wikipedia articles with KULTURNAV identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. 5–9. His rise to artistic prominence, which he owed chiefly to encouragement by Piero de’ Medici and his son Lorenzo, the leading art patrons of Florence, evidently began only after the death, in 1466, of Donatello, who had been the Medici favourite.
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