Hercules and the Hydra (Pollaiuolo)

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Hercules and the Hydra (c. 1475) by Antonio del Pollaiuolo

Galleria degli Uffizi in Florence.[2] It measures 17 cm (6.6 in) by 12 cm (4.7 in), small like all his surviving mythological paintings. It is assumed that both these are miniature copies by the artist of two out of the three enormous (some 12 feet square) paintings on canvas of the Labours of Hercules commissioned from Antonio and Piero del Pollaiuolo by Piero di Cosimo de' Medici for the Sala Grande of the Palazzo Medici
in the 1460s, which have now been lost.

The large originals

Hercules slaying Antaeus
: Hercules found that each time he felled Antaeus, he got up again, renewed by contact with the earth – Gaia, his mother, refreshing him – so Hercules had to hold him off the ground while squeezing him to death

The originals were in a large room designed to impress visitors. They were 6

braccia square or high—about 3.5 metres, on cloth, so with over-life size figures; Hercules and the Nemean lion was the third.[3] For some fifty years after their completion, these "were amongst the most famous and influential works of their time", but are now lost, "like nearly every canvas of the date".[4]

These were done around 1460, very early in Antonio's independent career, and must have loudly announced his arrival as a painter to Florence and beyond. They were perhaps commissioned by Piero di Cosimo de' Medici rather than his father, and were on cloth, still relatively unusual in Florence at this date.[5]

In 1494, Antonio Pollaiulo wrote a letter to Gentil Virginio Orsini from Rome, which was at the time in the grip of an outbreak of plague, asking to be allowed home to

Lorenzo the Magnificent
.

Giorgio Vasari, the Florentine art historian praised the series of paintings, especially Hercules Slaying Antaeus – "In the Medici palace Antonio painted three Hercules scenes of five braccia (about six feet across). In one of them he strangles Antaeus, a most beautiful picture, in which one can really see Hercules's effort in the strangling – And no less care is used for Antaeus, who, held tight in the arms of Hercules, is seen to lose all strength and with open mouth give up the ghost."

They were mentioned again in Raffaello Borghini's Riposo of 1584 before vanishing from the documentary record.

They show the influence of the

Neoplatonic Academy, harking back to classical art and interpreting Greek and Roman myth in the light of Christian philosophy.[8]

The miniatures

Possibly produced for a private study, the two works now in the Uffizi are now generally thought to be copies after two of the works in the Labours set, done many years later, possibly for the Medici. One relates to Antonio's bronze sculpture

Museo nazionale del Bargello
.

The two paintings in the Uffizi are first definitively recorded in a 1609 inventory of works in the Gondi household in Florence, by which time they had been joined together to form a diptych despite originally being separate works with different horizon lines. They were lost in 1943 during the Second World War but recovered in Los Angeles in 1963 by Rodolfo Siviero. They were restored in 1991.

Notes

  1. ^ "High resolution image from Google Art Project".
  2. ^ AA.VV., Galleria degli Uffizi, collana I Grandi Musei del Mondo, Roma 2003.
  3. ^ Wright, 78–86; Hartt, 313; Vasari. A Florentine braccio = 583 mm.
  4. ^ Clark, 180-181
  5. ^ Wright, 78–86; Vasari
  6. ^ In The Picture, Andrew Graham-Dixon, The Sunday Telegraph Magazine, 21 April 2002, p.74
  7. ^ andrewgrahamdixon
  8. ^ "Catalogue entry".

References

  • Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various edns, page refs from Pelican edn of 1960
  • ISBN 0500235104
  • "Vasari":
    Lives of the Artists
    .
  • Wright, Alison, The Pollaiuolo Brothers: The Arts of Florence and Rome, 2005, Yale, ISBN 9780300106251, google books
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