Hercules in Repose
Attributions for this Hercules have ranged widely, with perceived connections to Bertoldo, Pollaiuolo, and particularly to Verrocchio favored. Some, however, have sought to place the bronze in the circle of Michelangelo, dating it as late as the second decade of the sixteenth century. Despite its awkward anatomy, the statuette's rude vigor of pose and strong, fluent modeling are attractive, and its faults are almost endearing. Hercules seems composed of mismatched body parts. Were he to shift his weight, the long left leg when straightened would leave its mate suspended in midair. The stunted torso is a poor fit to head and legs, and the huge feet should be attached to a much larger figure. Draped over the hero's shoulder is a lion skin, and juxtaposed to his youthful, rather pensive face is the head of a lion who looks like a somewhat grumpy old man.
It is hard to account for the manifest strengths and weaknesses combined in this powerful little figure, but surely lack of experience—whether due to the unknown artist's youth or to his unfamiliarity with the medium—must have played some part.
Source: Art in The Frick Collection: Paintings, Sculpture, Decorative Arts, New York: Harry N. Abrams, 1996.
Baron Achille Seillière, Château de Mello, Oise. His sale, May 5–10, 1890, Galerie Georges Petit, Paris, Lot 433, sold for 3,100 francs to Stettiner. Henry Joseph Pfungst, London. Sold through Durlacher Bros., June 1901, to J. Pierpont Morgan, London and New York. Duveen. Frick, 1916.
Source: Sculpture in The Frick Collection: Italian. Volume III. New York: The Frick Collection, 1970.
