DOI Kapitel:
Chapter I: Verrocchio and his Place in Qattrocento Art
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.62110#0039
HIS PLACE IN QUATTROCENTO ART 21
serpentine has sometimes been adduced as evidence of
his partiality for colour, but it is rather a proof of
the contrary. In comparison with the gaudy and
varied painting in use among the sculptors of his day,
their sombre red and jade-like green have an austere
effect.
Verrocchio was one of the most original and independent
of artists. He thought, saw, and executed from his own
standpoint, uninfluenced by his predecessors or his contem-
poraries except in so far as all genius must assimilate from
its surroundings. With the exception of the inevitable
impression made by Donatello there is little indication in
his works of more than a superficial and transient influence
from his predecessors. In his youth, as has already been
noticed, he imitated Antonio Pollaiuolo ; certain forms he
adopted from Desiderio, and his early painted work has
sufficient connection with that of Alessio Baldovinetti to
allow the supposition that he received some part of his
early training from him. But such external imitations
count for little in his development, which from first to last
was definite and self-expressive. The greatest influence in
his life was undoubtedly that of his own pupil Leonardo,
between whose art and that of the early Quattrocentists
his own stands midway. He formed the connecting link
between Leonardo and the past, that is to say between
tentative effort and supreme achievement. The genius of
Leonardo brought to perfection the aims and ideals of the
Florentine School. The science of Verrocchio made pos-
sible the subtle interpretations of Leonardo. The mastery
of anatomy and of composition, the facility of workman-
ship and technical knowledge imparted by him to his pupil,
gave to Leonardo the power to express freely his complex
serpentine has sometimes been adduced as evidence of
his partiality for colour, but it is rather a proof of
the contrary. In comparison with the gaudy and
varied painting in use among the sculptors of his day,
their sombre red and jade-like green have an austere
effect.
Verrocchio was one of the most original and independent
of artists. He thought, saw, and executed from his own
standpoint, uninfluenced by his predecessors or his contem-
poraries except in so far as all genius must assimilate from
its surroundings. With the exception of the inevitable
impression made by Donatello there is little indication in
his works of more than a superficial and transient influence
from his predecessors. In his youth, as has already been
noticed, he imitated Antonio Pollaiuolo ; certain forms he
adopted from Desiderio, and his early painted work has
sufficient connection with that of Alessio Baldovinetti to
allow the supposition that he received some part of his
early training from him. But such external imitations
count for little in his development, which from first to last
was definite and self-expressive. The greatest influence in
his life was undoubtedly that of his own pupil Leonardo,
between whose art and that of the early Quattrocentists
his own stands midway. He formed the connecting link
between Leonardo and the past, that is to say between
tentative effort and supreme achievement. The genius of
Leonardo brought to perfection the aims and ideals of the
Florentine School. The science of Verrocchio made pos-
sible the subtle interpretations of Leonardo. The mastery
of anatomy and of composition, the facility of workman-
ship and technical knowledge imparted by him to his pupil,
gave to Leonardo the power to express freely his complex