Michael Hirst, Michelangelo and His Drawings

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Renaissance Quarterly, 2021

Particularly fascinating are the essays on spectral imaging by a conservation team headed by John K. Delaney and on X-radiography of bronzes by Dylan Smith. Both allowed penetration of the outside surface to analyze how the objects were made. In paintings like the Baptism of Christ (Uffizi, Florence), the underground revealed that different artists, using diverse materials, had painted separate areas of the painting, as has long been argued on connoisseurship grounds. Conservator Dylan Smith's testing of the bronzes suggests that Verrocchio's changes in alloy compound and evolving skill in casting provide other means of dating his sculptures. He showed changes made to the bronze sculpture in process, such as armature modifications to support limbs in altered positions. He advanced new arguments about the casting of the bronze details of the tomb of Giovanni and Piero de' Medici and hypothesized that, after Verrocchio's death, Giovanni d'Andrea, a member of Verrocchio's shop, finished the equestrian statue of Colleoni in Venice, with Leopardi as the caster. These reinforcing studies provide the basis for rethinking Verrocchio's career.

The exhibition is made possible by Morgan Stanley.

Wall Street Journal, June 13, 2024

The museum considers the last 30 years of the Renaissance polymath's work on paper in an exhibition that features a newly restored cartoon and the artistic fruits of two important friendships.

Architectural Histories, 2020