The Cleveland Museum of Art

Collection Online as of March 19, 2024

Battle of the Nudes

Battle of the Nudes

1470s–80s
(Italian, 1431/32–1498)
Sheet: 42.4 x 60.9 cm (16 11/16 x 24 in.); Platemark: 42 x 60.4 cm (16 9/16 x 23 3/4 in.)
Catalogue raisonné: Hind I,191,D.I.1 ; Bartsch XIII.202.2
Location: not on view

Did You Know?

Considered a groundbreaking work in the history of the Italian Renaissance, the CMA holds the only known impression of the print's first state.

Description

This engraving is one of the earliest Renaissance prints to portray the nude male body in action. Antonio del Pollaiuolo’s grimacing warriors appear like clones in different poses. The print may have functioned as a model for workshop apprentices studying human anatomy while learning to draw; however, the artist’s Latin signature suggests it also had an audience educated in literature. Art historians remain uncertain whether Pollaiuolo intended to depict a particular story or historical event. It is possible he created a deliberately ambiguous allegory that would appeal to patrons interested in interpreting symbols. For example, the continuous chain shared by the two central men could refer to an ancient idea that the body is the chain of the soul, only to be released in death.
  • Langdale, Shelley R., and Antonio Pollaiolo. Battle of the Nudes: Pollaiuolo's Renaissance Masterpiece. [Cleveland]: Cleveland Museum of Art, 2002. exh. cat. number 1, p. 2 www.jstor.org
    The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. Reproduced: p. 79 archive.org
    The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 91 archive.org
    Driscoll, Ann. "The Pig Painter: Parties, Poets, and Pollaiuolo." The Bulletin of the Cleveland Museum of Art 80, no. 3 (1993): 83-111. Reproduced: p. 99; Mentioned: p. 97-111 www.jstor.org
    May, Sally Ruth. Knockouts: a pocket guide. Cleveland: Cleveland Museum of Art, 2001. Reproduced: no. 115, p. 102 - 103
    Langdale, Shelley R., "Mastering the Human Form", Cleveland Museum of Art. Cleveland Art: The Cleveland Museum of Art Members Magazine. Vol. 42 no. 06, Summer 2002 Mentioned & reproduced: p. 6-7 archive.org
    Cleveland Museum of Art. The CMA Companion: A Guide to the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2014. Mentioned and reproduced: P. 347-348
    Berti, Luciano, Federica Chezzi, Antonio Natali, and Mario Sperenzi. Botticelli: approccio nel nuovo millennio. Firenze: Centro Di, 2015. Mentioned; p. 62; Reproduced: p. 64
    Olszewski, Edward J. "Michelangelo's David: Full Frontal Nudity in the Age of Savonarola." Source: Notes in the History of Art. v. 35 no. 1/2 (2015/2016): 118-125 Mentioned and reproduced: pp. 120-121
    Cleveland Museum of Art. Museum Masters: 2016-17 Companion Guide. [Cleveland, Ohio]: Cleveland Museum of Art, 2016. Mentioned and Reproduced: P. 16
    Schulz, Anne Markham. The History of Venetian Renaissance Sculpture, Ca. 1400-1530. London : Harvey Miller Publishers, 2017. Mentioned p. 162; Reproduced fig. 53
    Nethersole, Scott. Art and Violence in Early Renaissance Florence.
    New Haven, Connecticut : Yale University Press, 2018 Mentioned and Reproduced: p. 20, 34, 116-117, 176-182, 179. figs. 6, 79,144,147
    Rubin, Patricia Lee. Seen from Behind: Perspectives on the Male Body and Renaissance Art. New Haven : Yale University Press, 2018. Mentioned and Reproduced: p. 40-41, 122-123, 213, pl. 1.41, 4.14, 6.33
    Heisterberg, Marion. Zwischen exemplum und opus absolutum: Studien zum Abzeichnen im italienischen Tre- und Quattrocento zwischen Mustertransfer und Kopie. 2020. Reproduced and mentioned; pp. 421-422, fig. 265
    Raphael, and Francesco Federico Mancini. Fortuna e mito di Raffaello in Umbria. 2021. Mentioned and reproduced: pp. 146-148, fig. 5
    Olszewski, Edward J. The Agency of Female Typology in Italian Renaissance Paintings. Newcastle-upon-Tyne : Cambridge Scholars Publishing, 2023. Mentioned: p. 87; reproduced: p. 89, fig. 4.4.
  • Italian Prints and Drawings. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-February 25, 1968).
    Albrecht Dürer - 500th Anniversary. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 28, 1971).
    Florence and the Arts: Five Centuries of Patronage. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-September 19, 1971).
    Connoisseurship in Italian Figural Compositions. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 1980-February 15, 1981).
    Object Lessons: Cleveland Creates an Art Museum. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).
    CASVA (Curatorial/Conservation Colloquy in conjunction with the Center for Advanced Study in the Visual Arts). National Gallery of Art, Landover, MD (organizer) (June 19-21, 2000).
    Battle of the Nudes: Pollaiuolo's Renaissance Masterpiece. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 25-October 27, 2002).
    Treasures on Paper from the Collection of the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).
    Gods and Heroes: Ancient Legends in Renaissance Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-December 31, 2017).
    Botticelli: The Drawings. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (November 18, 2023-February 11, 2024) https://www.famsf.org/exhibitions/botticelli-drawings.
  • {{cite web|title=Battle of the Nudes|url=false|author=Antonio del Pollaiuolo|year=1470s–80s|access-date=19 March 2024|publisher=Cleveland Museum of Art}}

Source URL:

https://www.clevelandart.org/art/1967.127