Andrea Verrocchio is one of the most prominent sculptors of the Italian Renaissance, although his talent has been somewhat overshadowed by artists of the carving of Lorenzo Ghiberti, Donatello or the very Miguel Ángel Buonarrotti.
However, Verrocchio's production is very important with creations such as his famous Doubt of Saint Thomas or the Venetian monument of the equestrian statue of Bartolome Colleoni.
Verrocchio's Lady of the Corsage
The work shown here of theLady with a corsageis a work carved in marble and dated between 1475 and 1480, and is actually considered to be a work of his workshop. It is currently on display at the Barghello National Sculpture Museum in the city of Florence, where another of his most emblematic works is also preserved: the David, although in this case made of bronze.
This fact that it is a workshop work is very important, since young artists with the talent of Sandro Botticelli or il Perugino worked in that workshop . In fact, the artistic workshop ofVerrocchiowas one of the most important in his nativeTuscany. And even there, none other than Leonardo da Vinci was formed. In fact, there are art historians that Leonardo himself actively participated in thiswork.
In the bust we see that the marble has been treated to achieve true pictorial effects, and we must not forget that Verrocchio, whose real name was Andrea di Cione, also worked as a painter.
The bust of this woman is a good example of the concept of the portrait that was held in those years in the Italy of the Renaissance. Some portraits that do not work so much on the perfect physiognomic representation as on the search for an ideal of beauty, both for women and men. It is true that there were times when she wanted great realism, but in many other more official portraits, she wanted to capture the aesthetic and philosophical ideals of the moment.
In this case it can be seen that a special emphasis has been placed on the compositional value and on the message transmitted by the girl's hands, which reach an enormous prominence placed on the chest and holding the bouquet of flowers that gives name to the work.
It is curious to see in the museum of the Barghello certain stylistic differences between the Lady with the corsage and the David. Because while in the woman everything is rest, in the case of the representation of the great Florentine hero, the model is much more nervous and agitated.
Another very interesting fact is discovered when observing the work closely, it is to see how it has been played with the details added to the bust itself, such as the corsage itself or the hairstyle of the hair, carved with exquisite detail and precision.