Apollo and Daphne is a small oil-on-panel painting from the workshop of the Florentine artists Antonio and Piero del Pollaiuolo, made around 1470 to 1480 and now usually attributed to Piero. It illustrates the moment in Ovid's Metamorphoses when the nymph Daphne turns into a laurel tree to escape the pursuing god Apollo. Its choice of a wood support and small size once led it to be mistaken for a fragment cut from a cassone, an Italian marriage chest, though it is now catalogued as an independent panel; its background vegetation, once brighter, has darkened irreversibly over time. William Coningham bought the painting in Rome in 1845, and Wynne Ellis bequeathed it to the National Gallery in London in 1876, where it still hangs. This description is adapted from Wikipedia contributors under CC BY-SA 4.0; changes were made. https://creativecommons.org/licenses/by-sa/4.0/
Facts
Year CreatedSource states c.1470-1480 (circa); 1475 stands as a representative midpoint value. LocationNational Gallery, London 1 Medium
Medium (category) Connections
In Form
Source Apollo and Daphne (Pollaiuolo) (Wikipedia)
In Genre
Entity-backed identity for the genre enum value this work already carries, resolved to an arts art-form by an explicit value-to-entity map (phase 3 bucket conversion, docs\design_entity_backed_browse_buckets_20260928.md). The genre fact itself, with its own citation, stays on the work unchanged.
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Sources
1. Apollo and Daphne (Pollaiuolo) (Wikipedia)
Lead section
Apollo and Daphne is a c.1470-1480 oil on panel painting, attributed to Piero del Pollaiuolo (and/or his brother Antonio). William Coningham acquired it in Rome in 1845 and in 1876 Wynne Ellis left it to the National Gallery, London, where it still hangs.
Genre reference
Apollo and Daphne is a small oil-on-panel painting from the workshop of the Florentine artists Antonio and Piero del Pollaiuolo, made around 1470 to 1480 and now usually attributed to Piero.
In Form: Painting, lead paragraph
Apollo and Daphne is a c.1470-1480 oil on panel painting, attributed to Piero del Pollaiuolo (and/or his brother Antonio). William Coningham acquired it in Rome in 1845 and in 1876 Wynne Ellis left it to the National Gallery, Lond
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