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126:, who was then in charge of his workshop in Florence, should be entrusted with the finishing of the statue, but the Venetian state after considerable delay commissioned Alessandro Leopardi to do this. In 1496, the statue was erected on a pedestal made by Leopardi in the Campo SS. Giovanni e Paolo, where it stands today.
238:(Airmen's Square) and unveiled by the President of Szczecin and Colleoni's descendant, lawyer Guardo Colleoni. A condition of the return of the copy to Szczecin was that a copy of that copy be made to remain outside the Academy of Fine Arts in Warsaw, where a bronze copy of the electrotype copy stands today.
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The main problem he had to face was of statics: representing the horse while moving, with a raised leg, could cause stability problems due to the excessive weight of the bronze being supported only by three relatively thin legs. Donatello, in his monument at Padua, had partially solved the problem by
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from Venice and
Bartolomeo Vellano from Padua. Verrocchio made a model of his proposed sculpture using wood and black leather, while the others made models of wax and terracotta. The three models were exhibited in Venice in 1483 and the contract was awarded to Verrocchio. He then opened a workshop in
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Although it was not placed where
Colleoni had intended, art historian Passavent emphasised how fine it looks in its actual position, writing that "the magnificent sense of movement in this figure is shown to superb advantage in its present setting" and that, as sculpture, "it far surpasses anything
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Verrocchio is unlikely to have ever seen
Colleoni and the statue is not a portrait of the man but of the idea of a strong and ruthless military commander "bursting with titanic power and energy". This is in contrast to Donatello's statue at Padua of the condottiere known as
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In 1475, the
Condottiero Colleoni, a former Captain General of the Republic of Venice, died and by his will left a substantial part of his estate to the Republic on condition that a statue of himself should be commissioned and set up in the
106:. In 1479 the Republic announced that it would accept the legacy, but that (as statues were not permitted in the Piazza) the statue would be placed in the open space in front of the
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as an inspiration to students. In 1992 the City of
Szczecin petitioned for the return of the copy, which was granted in 2001, and in 2002 it was installed in Szczecin's
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the century had yet aspired to or thought possible". He points out that both man and horse are equally fine and together are inseparable parts of the sculpture.
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of San Marco. A competition was arranged to enable a sculptor to be selected. Three sculptors competed for the contract, Verrocchio from
Florence,
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with its "air of calm command" and all
Verrocchio's effort "has been devoted to the rendering of movement and of a sense of strain and energy".
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putting the raised leg on a sphere. Verrocchio was the first to solve the problem in having the horse supported by three legs.
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434:"Una copia en bronce de la estatua ecuestre de Colleoni, en Montevideo, por Edmundo Prati (Uruguay)"
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copy of the statue was made for the cast and copy sculpture collection of what would become the
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Verrocchio based the sculpture on
Donatello's statue of Gattamelata, as well as on the ancient
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The
Renaissance in Italy: Architecture • Sculpture • Frescoes
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Venice and made the final wax model which was ready to
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Peter & Linda Murray, ed. (1983). "Verrocchio".
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Sculpture by Andrea del
Verrocchio in Venice, Italy
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472:Verrochio Sculptures Paintings & Drawings
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347:"Pomnik Bartolomeo Colleoniego w Szczecinie"
371:"Pomnik Bartolomeo Colleoniego w Warszawie"
175:Equestrian Monument of Niccolò da Tolentino
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493:: CS1 maint: location missing publisher (
270:. New York: The Viking Press. p. 160.
571:Equestrian statue of Bartolomeo Colleoni
48:Equestrian statue of Bartolomeo Colleoni
18:Equestrian Statue of Bartolomeo Colleoni
321:Penguin Dictionary of Art & Artists
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77:(who served for a long time under the
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162:, now lost), and the frescoes of the
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688:Sculptures by Andrea del Verrocchio
375:Knowledge (XXG), wolna encyklopedia
351:Knowledge (XXG), wolna encyklopedia
70:in 1480–1488. Portraying the
678:Buildings and structures in Venice
85:of the Italian Renaissance, after
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693:Monuments and memorials in Venice
589:Virgin and Child with Two Angels
210:Bartolomeo Colleoni Monument at
91:equestrian statue of Gattamelata
42:19th-century photo of the statue
453:Grande atlante del Rinascimento
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481:Italian Renaissance Sculpture
698:Statues of military officers
479:Pope-Hennessy, John (1958).
122:He had asked that his pupil
56:Campo Santi Giovanni e Paolo
683:Bronze sculptures in Venice
673:Equestrian statues in Italy
228:National Museum in Szczecin
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703:Sculptures of men in Italy
470:Passavant, Gunter (1969).
266:Decker, Heinrich (1969) .
247:University of the Republic
158:(a late antiquity work in
144:statue of Marcus Aurelius
548:Christ and Saint Thomas
451:Zuffi, Stefano (2007).
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377:(in Polish), 2019-08-22
353:(in Polish), 2020-05-25
417:-34.9098611; -56.16333
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232:Academy of Fine Arts
644:45.4392°N 12.3414°E
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243:Montevideo, Uruguay
180:Andrea del Castagno
112:Alessandro Leopardi
75:Bartolomeo Colleoni
564:Woman with Flowers
474:. London: Phaidon.
280:Passavent pp. 62-3
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79:Republic of Venice
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462:978-88-370-4898-3
455:. Milan: Electa.
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83:equestrian statue
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325:. Penguin.
224:electrotype
222:In 1909 an
196:Gattamelata
130:Description
72:condottiero
668:1488 works
662:Categories
635:12°20′29″E
632:45°26′21″N
540:Sculptures
381:2020-06-08
357:2020-06-08
253:References
581:Paintings
489:cite book
483:. London.
403:56°9′48″W
87:Donatello
218:, Poland
216:Szczecin
156:Regisole
93:(1453).
445:Sources
97:History
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202:Copies
150:, the
108:Scuola
60:Venice
556:David
160:Pavia
64:Italy
50:is a
495:link
457:ISBN
327:ISBN
148:Rome
146:in
46:The
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