Gardners Art through the Ages A Global History

directed a flourishing bottega (studio-shop) in Florence that attracted

many students, among them Leonardo da Vinci. Verrocchio, like Dona-

tello, also had a broad repertoire. His David contrasts strongly in its

narrative realism with the quiet classicism of Donatello’sDavid.Ve r -

rocchio’s David is a sturdy, wiry, young apprentice clad in a leathern

doublet who stands with a jaunty pride. As in Donatello’s version, Go-

liath’s head lies at David’s feet. He poses like a hunter with his kill. The

easy balance of the weight and the lithe, still thinly adolescent muscula-

ture, with prominent veins, show how closely Verrocchio read the bib-

lical text and how clearly he knew the psychology of brash young men.

The Medici eventually sold Verrocchio’s bronze David to the Florentine

government for placement in the Palazzo della Signoria. After the ex-

pulsion of the Medici from Florence, officials appropriated Donatello’s

David for civic use and moved it to the city hall as well.

POLLAIUOLOThe Renaissance interest in classical culture nat-

urally also led to the revival of Greco-Roman mythological themes in

art. The Medici were leading patrons in this sphere as well. Around

1470,Antonio del Pollaiuolo(ca. 1431–1498), who was also im-

portant as a painter and engraver (FIG. 21-29), received a Medici com-

mission to produce a small-scale sculpture,Hercules and Antaeus (FIG.

21-14). The subject matter, derived from Greek mythology, and the

emphasis on human anatomy reflect the Medici preference for hu-

manist imagery. Even more specifically, the state seal of Florence had

featured Hercules since the end of the 13th century. As commissions

such as the two David sculptures demonstrate, the Medici clearly em-

braced every opportunity to associate themselves with the glory of the

Florentine Republic, surely claiming much of the credit for it.

In contrast to the placid presentation of Donatello’s David (FIG.

21-12), Pollaiuolo’s Hercules and Antaeus exhibits the stress and

strain of the human figure in violent action. This sculpture departs

dramatically from the convention of frontality that had dominated

statuary during the Middle Ages and the Early Renaissance. Only

18 inches high,Hercules and Antaeus embodies the ferocity and vi-

tality of elemental physical conflict. The group illustrates the

wrestling match between Antaeus (Antaios), a giant and son of the

goddess Earth, and Hercules (Herakles), a theme the Greek painter

Euphronios had represented on an ancient Greek vase (FIG. 5-23)

2,000 years before. According to the Greek myth, each time Hercules

threw him down, Antaeus sprang up again, his strength renewed by

550 Chapter 21 ITALY,1400 TO 1500

21-13Andrea del Verrocchio,David,ca. 1465–1470. Bronze,

4  11 – 2 high. Museo Nazionale del Bargello, Florence.

Verrocchio’s David,also made for the Medici, displays a brash confi-

dence. The statue’s narrative realism contrasts strongly with the quiet

classicism of Donatello’s David (FIG. 21-12).

21-14Antonio del Pollaiuolo,Hercules and Antaeus,ca. 1470–1475.

Bronze, 1 6 high with base. Museo Nazionale del Bargello, Florence.

The Renaissance interest in classical culture led to the revival of Greco-

Roman mythological themes in art. Hercules and Antaeus exhibits the

stress and strain of the human figure in violent action.

1 ft.

1 in.