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Instead, the exhibition shows intimate and, on the whole, small-scale studies from across a range of media — paintings, drawings, woodcuts, manuscripts, statues — presenting the nude in a range of ways. Nudes in the 15th and 16th centuries were produced for churches and monasteries, private collections, and anatomical treatises, while pornographic prints circulated widely. Some are full of erotic possibilities, though a remarkable number are distinctly unerotic: ironically the least sexy objects are the ones that verge on pornography.
The Battle of the Nudes or Battle of the Naked Men , probably dating from —, is an engraving by the Florentine goldsmith and sculptor Antonio del Pollaiuolo which is one of the most significant old master prints of the Italian Renaissance. The engraving is large at All the figures are posed in different strained and athletic positions, and the print is advanced for the period in this respect.
The Battle of the Nudes or Battle of the Naked Men probably dating from —, is an engraving by the Florentine goldsmith and sculptor Antonio del Pollaiuolo which is one of the most significant old master prints of the Italian Renaissance. The engraving is large at All the figures are posed in different strained and athletic positions, and the print is advanced for the period in this respect. The style is classicizing, although they grimace fiercely, and their musculature is strongly emphasized.
Pollaiuolo brothersItalian brothers who, as sculptors, painters, engravers, and goldsmiths, produced myriad works together under a combined signature. Antonio learned goldsmithing and metalworking from either Vittore Ghiberti son of Lorenzo or Andrea del Castagno. After the two collaborated consistently, and the individual contributions of each are frequently difficult to determine.
L orenzo de' Medici, the Magnificent, had no sense of smell. In Vasari's portrait, he broods among classical relics, objects redolent of an occulted past. His face is long and incised and melancholy, but his nose, in this painting done after his death, is flatteringly restored from what was, in life, a flattened ruin.
This fifteenth-century engraving of ten naked men fighting is one of the largest and most influential prints made in the Renaissance. A variety of weapons are depicted: bows and arrows, swords, daggers, axes and a heavy chain. Two shields, one face up, one face down, are lying on the ground.
The important thing about his account is his detailed description of the climate, peoples and animals he encountered. Memmo di Filipuccio, Bed Scene, c. Before the s, nude figures do occur in the visual arts, but its normally for understandable reasons that have to do with telling a story. Antonio del Pollaiuolo was a pioneer of the male-nude-in-action form, which was to become repeatedly revisited in Italian renaissance art.
This painting looks very different from other paintings we have viewed from the renaissance period. It seems to be lacking the themes we have discussed that are imporant to the renaissance. The individuals, while proportionatly and very much anatomically correct, have muscluature that is largely exaggerated.