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Factory sealed. 279 color illustrations. 384p. Measures 9.25x11.75. Contributions by John K. Delaney, Charles Dempsey Gretchen A. Hirschauer, Alison Luchs, Lorenza Melli, Dylan Smith, and Elizabeth Walmsley. This book is a comprehensive survey of the work of this most influential Florentine artist and teacher.

A comprehensive new survey of the work of this most influential Florentine artist and teacherAndrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio.This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists.Published in association with the National Gallery of Art, Washington, DCExhibition ScheduleNational Gallery of Art, Washington, DCSeptember 15, 2019–January 12, 2020

Hardcover, 384 pgs. Sealed, new.

A well illustrated study of the history, art, and significance of Verrocchio's DAVID, along with the story of its recent restoration in Florence.

A comprehensive new survey of the work of this most influential Florentine artist and teacherAndrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio.This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists.Published in association with the National Gallery of Art, Washington, DCExhibition ScheduleNational Gallery of Art, Washington, DCSeptember 15, 2019–January 12, 2020

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 raisonné 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.

Presents exciting, original conclusions about Leonardo da Vinci’s early life as an artist and amplifies his role in Andrea del Verrocchio’s studio This groundbreaking reexamination of the beginnings of Leonardo da Vinci’s (1452–1519) life as an artist suggests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio (1435–1488). Anchoring this analysis are important yet often overlooked considerations about Verrocchio’s studio—specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did. The book searches for the young artist’s hand among the tempera works from Verrocchio’s studio and proposes new criteria for judging Verrocchio’s own painting style. Several paintings are identified here as likely the work of Leonardo, and others long considered works by Verrocchio or his assistant Lorenzo di Credi (1457/59–1536) may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83. In addition to Laurence Kanter’s detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.

Presents exciting, original conclusions about Leonardo da Vinci’s early life as an artist and amplifies his role in Andrea del Verrocchio’s studio This groundbreaking reexamination of the beginnings of Leonardo da Vinci’s (1452–1519) life as an artist suggests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio (1435–1488). Anchoring this analysis are important yet often overlooked considerations about Verrocchio’s studio—specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did. The book searches for the young artist’s hand among the tempera works from Verrocchio’s studio and proposes new criteria for judging Verrocchio’s own painting style. Several paintings are identified here as likely the work of Leonardo, and others long considered works by Verrocchio or his assistant Lorenzo di Credi (1457/59–1536) may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83. In addition to Laurence Kanter’s detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.

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 raisonné 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.

Created between 1470 and 1476 Leonardo da Vincis Womans Head has become an iconic example of art from the school of Verrocchio. Typical of this style the portrait is depicted with rounded eyes gazing downward with a subdued smile as delicate curls frame the subjects face. Although not much is known about individual pieces from Da Vincis sketches historians often disputed the connection between this work and The Annunciation from their shared positioning and angle. Da Vincis knowledge of Catholic teachings and religious iconography is exemplified in his entire body of work and continue to influence art and cultural spheres to this day. Find high quality prints of your favorite piece like this here at overstockArt.com. Frame Description: Gallery Black. Color: Beige.

Created between 1470 and 1476 Leonardo da Vincis Womans Head has become an iconic example of art from the school of Verrocchio. Typical of this style the portrait is depicted with rounded eyes gazing downward with a subdued smile as delicate curls frame the subjects face. Although not much is known about individual pieces from Da Vincis sketches historians often disputed the connection between this work and The Annunciation from their shared positioning and angle. Da Vincis knowledge of Catholic teachings and religious iconography is exemplified in his entire body of work and continue to influence art and cultural spheres to this day. Find high quality prints of your favorite piece like this here at overstockArt.com. Frame Description: Gallery Black. Color: Beige.

Painter. Inventor. Visionary. This complete guide examines the life and work of one of the greatest geniuses in history: Leonardo da Vinci.   Explore the life of Leonardo da Vinci, from his childhood to his apprenticeship with Verrocchio, from the establishment of his own workshop in Florence to his painting of the Mona Lisa, and beyond. Packed with information about the great master’s technique and style, Leonardo da Vinci features extracts from his notebooks and scientific studies, reproductions of his awe-inspiring paintings and sketches, and maps of where he lived. Smoothly integrating information on Leonardo the man with examinations of his inventions and renowned masterpieces, it’s the perfect companion for aficionados of the incomparable artist. New format of Treasures of Leonardo da Vinci

This lovely book details the activities of the leading artists of Florence during the 1470s, when Lorenzo de`Medici and his allies were cultivating the visual arts as an important means of asserting influence. The book discusses the art of Andrea Verrocchio, Antonio and Piero Pollaiuolo, Sandro Botticelli, and Filippino Lippi; the competition and collaboration among them; and the religious, political, and social contexts of their work.

Born in Cortona around 1450, Signorelli began his apprenticeship under Piero della Francesca before going on to study with the Florentine master Andrea del Verrocchio, in whose workshop Leonardo da Vinci, Sandro Botticelli, Domenica Ghirlandaio, Lorenzo de Credi and Pietro Perugino also learned their art. It was as Perugino's assistant that Signorelli realized his first known work, the Testament and Death of Moses in the Sistine Chapel in Rome, in 1482. Between that date and his death in 1523, Signorelli worked throughout central Italy for some of the greatest patrons of the age, earning himself a reputation as one of the leading painters of his generation. Recently restored, the extraordinary cycle of frescoes on the Last Judgemnt in the Cappella Nova at Orvieto, rightly considered Signorelli's finest masterpiece and a highpoint of the Italian Renaissance, reveal in all their force and glory the artist's skill as a colourist of the first rank and as a master of the male nude. Illustrated with stunning post-restoration colour plates, this book is the first in fifty years to re-evaluate Signorelli's importance and to catalogue his oeuvre. In a detailed life of the artist, Laurence Kanter traces his career from its origins in Piero's workshop to his late work in Tuscany and Umbria. In the catalogue, Tom Henry presents the artist's entire painted oeuvre, including a number of paintings never before reproduced, while in a separate plate section he discusses twenty-one of his most important works. Together these eminent contributions make up the most complete volume on Luca Signorelli ever published.