THE NEW YORK TIMES
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeMk89fi1xW60DsCwYgDpLkhCn5NZ0E78q_7b4mOvK2lgdhMd_rZHT-z1xd31p3vVwGq4y9RJ5_MJVkYLdL_iHiuufO-UnwTb2pq6gBaurhsBNgljWfpv7LDbQXyaxvJc3x7lcclxp0g/s400/Andrea+del+Verrocchio%25E2%2580%2599s+%25E2%2580%259CBust+of+Christ%25E2%2580%259D+%2528c.+1470%253A1483%2529.CreditYale+University+Art+Gallery.png) |
Andrea del Verrocchio’s “Bust of Christ” (c. 1470/1483). Credit Yale University Art Gallery |
The 15th-century painter and sculptor
Andrea del Verrocchio stood at the center of the Renaissance. A favorite of the Medicis, he was a teacher to Pietro Perugino and Leonardo da Vinci. With lips set and eyes downcast, Verrocchio’s painted terra-cotta bust of Christ — one of dozens of treasures in “
Verrocchio: Sculptor and Painter of Renaissance Florence” at the
National Gallery of Art in Washington, D.C. — projects confidence, resignation, weariness, compassion, devotion to duty, pain and an exalted kind of loneliness. [
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Andrea del Verrocchio, Lady with Flowers, c. 1475/1480, marble, Museo Nazionale del Bargello, Florence |