皮耶罗德尔波莱欧罗作品

   安东尼奥·波莱乌罗对于佛罗伦萨绘画最大的贡献是研讨 人体在运动当中，肌肉处于压力下的形态 ，相传他曾协助达·芬奇解剖尸体。安东尼奥·波莱乌罗也是研讨 风景画的倡导者，这从许多作品以风景作为背景中可以看得出来。作品常常根据1 个姿式 或从目光的1 瞥所暗示出来方向感，能引发 眼睛的视觉运动，这类 运动所产生的视觉轨迹，是1 种属于心思 的线条。波莱乌罗兄弟流传上去 许多精美艺术品，包括罗马教皇的墓碑上的金工、素描、挂毯、绘画作品。波莱乌罗兄弟经常合作制造 作品，因而 许多作品大多没法 判别到底是出自于哪1 个波莱乌罗。比如最著名的《妇人肖像》许多书不断 认为是安东尼奥·波莱乌罗的作品，但是收藏这幅画的米兰Museo Poldi Pezzoli却说是皮耶罗·波莱乌罗是作者。可以证明 的《圣赛巴斯蒂安的殉教》是皮耶罗·波莱乌罗的作品。《赫拉克勒斯和阿耳克尤纳宇斯》、《赫克勒斯降服 九头蛇》是安东尼奥·波莱乌罗的作品。他们善于刻画细节，画作中所描绘的织品、金属、宝石显现出真实的质感，作品经常以远方笼罩云雾著曲折的河流等风景为背景，还善于描绘轮廓线条明晰清楚的人体。

  板上蛋彩《赫拉克勒斯和阿耳克尤纳宇斯》（1460，Hercules and Anteus，16x9cm ，佛罗伦萨 Galleria degli Uffizi ）青铜雕像《赫拉克勒斯和阿耳克尤纳宇斯》（1470，Hercules and Anteus，高45cm，佛罗伦萨 - Museo Nazionale del Bargello）英雄赫拉克勒斯(Hercules,又称Herakles）是宙斯跟安菲特律翁国(Amphitryon)的王后阿尔克墨涅(Alcmene)所生的，他是珀耳修斯(Perseus)的后裔。生来就受天后赫拉的嫉恨，却鬼使神差 的吮吸了赫拉的乳汁，具有 健壮的身体和无量 的力量。阿耳克尤纳宇斯(Anteus)是地母该亚的巨人儿子之1 。该亚命令她的巨人儿子们向天神之父宙斯发起挑战，试图夺回王权。神灵们在1 道谕旨的指引下，找到还是凡人的赫拉克勒斯来帮助。赫拉克勒斯在战役 中1 箭射倒了巨人阿耳克尤纳宇斯，但是阿耳克尤纳宇斯1 接触地面立刻活了过来。在雅典娜的唆使 下，赫拉克勒斯冲上前去，将阿耳克尤纳宇斯举起，使得他没法 从大地获得力量，终究 精疲力竭而死。艺术家们在描绘这1 场景时，赫拉克勒斯总是将阿耳克尤纳宇斯高高抱起，而阿耳克尤纳宇斯则是在极力挣扎。两个壮硕男体的亲密接触，同性间降服 的意味浓郁。板上蛋彩《赫克勒斯降服 九头蛇》（约1475，Hercules and the Hydra，佛罗伦斯乌菲兹博物馆）。这幅尺寸很小的画是为洛伦佐·美第奇所绘制的随身身作品。画中展示 的是希腊英雄赫克勒斯和九头蛇怪之间凶悍 的搏斗的情景，并以1 片风景作为背景。观赏者初看这幅画时，目光通常不会立即趋随希腊神话中的英雄人物赫克勒斯臂膀的轮廓挪动 ，而是把全部 右腿看成接近画面对角线的1 条斜线。同样情形，九头蛇的身体与脖子也仅被视为许多曲折 线条的结合，似乎被前面的斜线压榨 而向右倾斜。另1 方面，经由赫克勒斯的目光所暗示出来的线条、1 条来回于赫克勒斯的棒子与九头蛇之间的线条，与手臂所构成 的直线相会在九头蛇的身躯上同1 个地位 。除此以外 ，我们的目光也被赫克勒斯身上披挂的狮皮所吸引，从狮头开始顺着狮皮来到狮尾指向同1 个地位 。这四条线都集中再同1 点，构成 强力的攻击力。赫克勒斯的姿势 在这力量的加持之下，加上曲折 的河流也指向九头蛇，使我们觉察到这场战役 1 面倒的特质。由于受到狮皮、臂膀、九头蛇和 河流所呈现出的唆使 性线条所引导，观赏者的眼睛因此 在画面上以1 种迅速且复杂情势 挪动 ，而感受到战役 的激烈。其特色是人物的轮廓外形明显，甚至肌肉都清晰可辨。

皮耶罗德尔波莱欧罗作品

   他出生在佛罗伦萨。他的弟弟皮耶罗也是个艺术家，两人经常在一同 工作。他们的作品既显示了古典主义的影响，也显示了对人体解剖学的兴味 ；据报道，兄弟俩进行了解剖，以提高他们对人体解剖学的认识。他们的绰号来自他们父亲的生意，他实际上是卖家禽的（波莱奥在乎 大利语中的意思是“鸡笼”）。安东尼奥对金匠和金工的第1 次研讨 是在他父亲或安德里亚·德尔·卡斯塔尼奥的领导下进行的：后者可能也教他绘画。其他音讯 称，他曾在巴托鲁奇奥·迪米歇尔的佛罗伦萨工作室工作，洛伦佐·吉贝尔蒂也在那里接受了他的培训。波拉约洛的1 些绘画表现出强烈的残暴，其中的特征可以在他描绘的圣塞巴斯蒂安[2]中得到研讨 ，1473-1475年，为圣塞巴斯蒂安的普奇教堂绘制。佛罗伦萨的安南夏塔。然而，比拟 之下，他的女性肖像则表现出1 种冷静和对时尚细节的细致关注，这在15世纪后期的肖像画中是很常见的。作为一位 雕刻家和金属工人，他取得了最大的成就。他的作品的确切归属值得怀疑，由于 他的兄弟皮耶罗与他合作了很多。

  [2]十5 世纪在古罗马神话中的1 座青铜雕塑上添加 了婴儿双胞胎罗穆卢斯和雷穆斯，1 些人认为她是照顾他们的母狼。他只创作了1 幅现存的版画《裸体人之战》，但不管 是在尺寸上还是在复杂程度上，这把意大利版画带到了1 个新的高度，并且仍然是文艺复兴时期最著名的版画之1 。1484年，安东尼奥在罗马定居，在那里他处死了教皇西克斯图斯四世的坟墓，如今 在圣彼得博物馆（1493年完成），在这幅作品中，他再次表现了人物解剖特征中夸张的特质。1496年，他去了佛罗伦萨，为圣斯皮里托圣餐堂已 开始的工作做最初 的润色。他作为1 个有钱人在罗马去世，刚刚完成了教皇无辜八世的陵墓，也在圣彼得教堂，葬在了理科 利的圣彼特罗教堂，在那里有1 座纪念碑在他兄弟的附近被竖立起来。他对佛罗伦萨绘画的次要 贡献在于他对人体在运动或紧张形态 下的分析，但他对景观的开创性兴味 也很重要。他的先生 包括桑德罗·波提切利。

   Piero Del Borayolo (1443-1496), also known as Piero Bench, was an Italian Renaissance Florentine painter. His younger brother is artist Antonio Del Polayolo, and they often work together. Their works not only show the influence of classicism, but also show their interest in human anatomy. It is reported that the brothers have carried out anatomy to improve their understanding of human anatomy. He died in Rome in 1496.Joel Giovasari included Polayolo's biography in the lives of his best painters, sculptors and architects. He was a famous Florentine painter and sculptor in the early Italian Renaissance in the 15th century. They co-operated a studio in Florence under the patronage of the Medici family to produce bronze and gold sculptures, paintings and decorations.

  The proven Martyrdom of Saint Sebastian is Piero Polleuro's work. Heracles and Alcyunas and Heckles Conquering the Nine-headed Snake are the works of Antonio Polleuro. They are good at depicting details. The textures, metals and gemstones depicted in the paintings show real texture. Their works often take scenery such as rivers covered with clouds and mists in the distance as background. They are also good at depicting people with clear outlines.

Antonio Polleuro's greatest contribution to Florence's painting is to study the state of the human body under pressure during exercise. It is rumored that he assisted Leonardo Da Vinci in autopsy. Antonio Boleuro is also an advocate of landscape painting, which can be seen from the background of many works. Often, a sense of direction is implied by a gesture or a glance of the eye, which can cause the visual movement of the eye. The visual trajectory produced by this movement is a mental line. The Boleuro brothers handed down many fine works of art, including metalworking, sketches, tapestries and paintings on the tombstones of the Pope. The Boleuro brothers often collaborate in the production of works, so many of the works are unable to identify which Boleuro came from. For example, many of the most famous "Portrait of a Woman" books have been considered Antonio Polleuro's works, but the Milan Museo Poldi Pezzoli who collected the painting said that Piero Polleuro was the author. The proven Martyrdom of Saint Sebastian is Piero Polleuro's work. Heracles and Alcyunas and Heckles Conquering the Nine-headed Snake are the works of Antonio Polleuro. They are good at depicting details. The textures, metals and gemstones depicted in the paintings show real texture. Their works often take scenery such as rivers covered with clouds and mists in the distance as background. They are also good at depicting people with clear outlines.

  Hercules and Anteus (1460, Hercules and Anteus, 16x9cm, Galleria degli Uffizi, Florence) bronze statue Hercules and Anteus (1470, Hercules and Anteus, 45cm high, Florence-Museo Nazionale del Bargel) Hercules (Hercules, also known as Herakles) is Zeus and Anfi. Born by Alcmene, Queen of Amphitryon, he is a descendant of Perseus. Born to be hated by Hera, the queen of heaven, but mistakenly sucked Hera's milk, with a strong body and infinite strength. Anteus is one of the giant sons of Caea. Caia ordered her giant sons to challenge Zeus, the father of the gods of heaven, in an attempt to regain sovereignty. Under the guidance of an oracle, the gods found Heracles, who was still a mortal, to help them. Heracles shot down the giant Alkyunas with an arrow in battle, but Alkyunas came alive as soon as he touched the ground. At Athena's instructions, Heracles rushed forward and lifted Alcyunas up so that he could not gain strength from the earth and eventually died of exhaustion. When artists depict this scene, Heracles always holds Alkyunas high, while Alkyunas struggles. The intimate contact between two strong men has a strong conquest of the same sex. Hercules and the Hydra, Florence Uffiz Museum, 1475. This small painting is a personal work for Lorenzo Medici. The picture shows the fierce struggle between the Greek hero Heckles and the nine-headed snake monster, and takes a landscape as the background. When viewers first look at the painting, their eyes usually do not immediately follow the outline of the arms of Hercules, the hero of Greek mythology, but look at the whole right leg as a diagonal line close to the diagonal line of the picture. Likewise, the body and neck of a nine-headed snake are seen only as a combination of many curved lines, seemingly pressed to the right by the front diagonal. On the other hand, the lines implied by Heckles'eyes, a line between Heckles' stick and the nine-headed snake, meet in the same position on the body of the nine-headed snake as the straight line formed by the arm. In addition, our eyes were also attracted by the lion's skin on Heckles, from the lion's head to the lion's tail, pointing at the same position along the lion's skin. These four lines are all concentrated at the same point, forming a strong offensive force. With the help of this force and the bending River pointing to the nine-headed snake, Heckles'posture made us aware of the one-sided nature of the battle. Guided by the indicative lines of lion skins, arms, nine-headed snakes and rivers, the viewer's eyes move in a rapid and complex form on the screen, and feel the fierce fighting. Its characteristic is that the outline of the characters is obvious, even the muscles are clearly distinguishable.