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310:, his style developed. While the earliest carved panels are fairly symmetric and lack movement, in later panels the movement of the singers becomes much more evident and dynamic. The Singing Gallery shows children singing, dancing, and making music to "praise the Lord" in the words of Psalm 150. Their figures are at once lively, finely observed, and gracefully combined in groups designed to fit the ten panels of the gallery. The advanced nature of the work of the Cantoria has been seen to establish Luca della Robbia's skill in stone, as well as to secure his place as a major Florentine artist and student of Renaissance naturalism.
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brilliant realistic colors is painted on each tile with enamel pigments. Although the bunch of flowers on each is painted on one slab, the ground of each tile is formed of separate pieces, likely because the pigment of the ground required a different degree of heat in firing from that needed for the enamel painting of the center.
382:(1446). The pliant medium of baked clay covered with a "slip" of vitrified lead and refined minerals permitted a lustrous, polished surface capable of reflecting light and color that was beautifully appropriate for architectural sculpture. Whether animating the vast, somber space of the Cathedral or in the series
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In 1471, Luca della Robbia was elected president of the
Florentine Guild of Sculptors, but he refused on account of his age and infirmity. His election demonstrated, however, the very high esteem in which he was held by his contemporaries. He died in Florence during February 1482, taking most of his
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sculptured with graceful reliefs of angels holding a wreath that contains the inscription. Above are three-quarter length figures of Christ between St. John and the Virgin, of conventional type. The whole is surrounded by a rectangular frame formed of painted tiles. A bunch of flowers and fruit in
317:, the large project of bronze doors for the sacristy of the cathedral. These doors were not finished until 1469; their reliance on a few figures placed in simple, orderly compositions against a flat ground, contrasts sharply with the elaborate pictorial effects of Lorenzo Ghiberti's more famous
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Working with assistants, including members of his own family, della Robbia produced a number of decorative reliefs and altarpieces until the end of his life. One of the arguably finest examples is the enameled terra-cotta ceiling (1466) of the Chapel of the
Cardinal of Portugal in San Miniato,
144:. Although a leading sculptor in stone, after developing his technique in the early 1440s he worked primarily in terracotta. His large workshop produced both less expensive works cast from molds in multiple versions, and more expensive one-off individually modeled pieces.
405:
His works were highly popular in his time and many were sent outside
Florence; the larger ones could be disassembled to facilitate transport. In 1446, he bought a large house containing a workshop, which would remain the base of the family workshop until the 1520s.
373:
of
Pistoia, dating to 1445. Although the date of della Robbia's first work in colored glazed terra-cotta is not known, his demonstrated control of this medium secured him two major commissions for the duomo of Florence: the large reliefs of the
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398:, and other heraldic devices; it is surrounded by an intricately modeled wreath of brilliantly colored fruit and flowers, including apples, lemons, oranges, and fir cones. This medallion was set up on the facade of the
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The vibrant, polychrome glazes made his creations both more durable and more expressive. His work is noted for its charm rather than the drama of the work of some of his contemporaries. Two of his famous works are
213:. By ranking him with contemporary artists of this stature, Alberti noted the interest and strength of Luca's work in marble and bronze, as well as in the terra-cottas always associated with his name.
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In the next two decades, della Robbia executed commissions like the series of small marble reliefs (1437) for the bell tower of the
Cathedral of Florence; and, in collaboration with
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gracing the pristine surfaces of the small Pazzi Chapel (1443–1450) in
Florence, della Robbia's reliefs in this medium achieved a high level of mastery.
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Luca della Robbia, Mary and Child with Two
Adoring Angels, 1430-1440, glazed terracotta, polychrmed, 109,5×130,5×17 cm, Berlin,
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259:). He may have trained as a goldsmith under Leonardo di Ser Giovanni according to art historian Vasari, before working with
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769:. Translated by Bondanella, Julia Conaway; Bondanella, Peter. New York: Oxford University Press. pp.
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Bust of a Saint from the pharmacy of the convent of San Marco, Florence, 1465–70, Bargello, Florence
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One or more of the preceding sentences incorporates text from a publication now in the
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306:. During the seven years it took della Robbia to carve the reliefs under the supervision of
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Madonna and Child with Angels from Via dell'Agnolo in
Florence, um 1470, Bargello, Florence
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in 1861, shows his free use of color: an enormous medallion containing the arms of
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Arguably one of the most important existing works in marble by Luca is the tomb of
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228:(singing loft) by Luca della Robbia, 1431-38, his first known commission -
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332:. Executed in 1454–1456, the tomb originally was placed in the church of
828:"The coat of arms of René of Anjou, by Luca della Robbia, about 1466-78"
752:. Vol. 7 (11th ed.). Cambridge University Press. p. 966.
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Della Robbia's earliest surviving freestanding sculpture is the white
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286:(for workers in stone and wood) in 1432. According to Vasari, the
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statuary, a technique that he invented and passed on to his nephew
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Works by the della Robbia family at the
Metropolitan Museum of Art
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in
Florence. An effigy of the bishop in a restful pose lies on a
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Visitation, 1445, San Giovanni Fuoricivitas, Pistoia, detail
816:, glaze on terra-cotta sculptures, accessed August 27, 2012
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Gentilini, G. and Petrucci, F. and Domestici, F. (1998).
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The original reliefs of the Cantoria (1431–1438) in the
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were responsible for securing the commission for him.
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959:. London: Harvey Miller - Brepols Publishers, 2021.
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The Allure of Glazed Terracotta in Renaissance Italy
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925:Luca della Robbia at the Detroit Institute of Arts
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402:to commemorate René's visit to Florence in 1442.
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920:Luca della Robbia at the National Gallery of Art
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197:for genius comparable to that of the sculptors
544:Madonna and Child with Angels, tondo from the
271:, and in the 1420s, was used by the architect
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876:: CS1 maint: multiple names: authors list (
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193:Della Robbia was praised by his compatriot
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390:Florence. Another relief, acquired by the
125:. Della Robbia is noted for his colorful,
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560:Madonna of the Apple, Bargello, Florence
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298:His first documented commission was the
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548:convent in Florence, Bargello, Florence
502:Virgin and Child in a niche, ca. 1460,
302:("Singing Gallery"; 1431–1438) for the
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845:
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893:Intellectual Property and Open Source
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688:Gentilini, Giancarlo (15 July 2008).
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997:. New York: Robert Appleton Company.
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504:Metropolitan Museum of Art, New York
284:Arte dei Maestri di Pietra e Legname
801:Making Art and History Come to Life
796:"The Cantoria" by Luca della Robbia
114:[ˈluːkadellaˈrobbja,-ˈrɔb-]
13:
486:Madonna Enthroned, Medici chapel,
151:Madonna of the Rosebush, 1450–60,
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985:Herbermann, Charles, ed. (1913).
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278:His important commission for the
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240:One of the panels of the Cantoria
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988:"Lucia di Simone Robbia"
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1022:Italian Renaissance sculptors
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470:Ospedale di Santa Maria Nuova
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119:Italian Renaissance sculptor
16:Italian sculptor (1399–1482)
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980:10.1484/M.HMSAH-EB.5.129108
935:THAIS.it: Luca della Robbia
734:; Burton, William (1911). "
263:on the famous doors of the
10:
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832:Victoria and Albert Museum
803:, accessed March 13, 2022
698:. Oxford University Press.
601:Collins English Dictionary
433:Museo dell'Opera del Duomo
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392:Victoria and Albert Museum
230:Museo dell'Opera del Duomo
378:(also from 1445) and the
371:San Giovanni Fuoricivitas
117:; 1399/1400–1482) was an
766:The Lives of the Artists
763:Vasari, Giorgio (1991).
1037:Sculptors from Florence
749:Encyclopædia Britannica
642:Oxford University Press
574:National Gallery of Art
334:San Pancrazio, Florence
1052:Italian male sculptors
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994:Catholic Encyclopedia
940:Illustrated biography
732:Middleton, John Henry
638:UK English Dictionary
474:, Florence, ca. 1443
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304:Cathedral of Florence
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195:Leon Battista Alberti
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142:Girolamo della Robbia
138:Giovanni della Robbia
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891:Van Linberg (2008).
826:Evans, Mark (1981).
648:on December 2, 2020.
631:"della Robbia, Luca"
626:"della Robbia, Luca"
517:Roundel by Luca and
273:Filippo Brunelleschi
207:Filippo Brunelleschi
955:Sarnecka, Zuzanna.
691:"Luca della Robbia"
636:Oxford Dictionaries
519:Andrea della Robbia
380:Ascension of Christ
134:Andrea della Robbia
1057:Catholic sculptors
856:. Giunti Editore.
668:. Merriam-Webster.
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265:Florence Baptistry
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188:Florence Cathedral
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136:and great-nephews
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973:978-1-912554-89-8
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814:Luca della Robbia
793:Ruggiero, Rocky,
780:978-0-19-953719-8
740:Luca della Robbia
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1027:1400 births
488:Santa Croce
449:Bode Museum
410:secrets of
365:terracotta
342:sarcophagus
180: 1475
169: 1460
1042:Terracotta
1006:Categories
942:(based on
582:References
572:Nativity,
490:, Florence
451:(Inv. 139)
435:, Florence
414:with him.
367:Visitation
363:tin-glazed
349:Terracotta
319:baptistery
315:Michelozzo
232:, Florence
155:, Florence
130:terracotta
127:tin-glazed
872:cite book
628:(US) and
466:from the
294:Sculpture
269:Donatello
217:Biography
199:Donatello
546:Capucine
464:Ciborium
300:Cantoria
280:Cantoria
261:Ghiberti
226:Cantoria
211:Masaccio
184:Cantoria
153:Bargello
123:Florence
110:Italian:
746:(ed.).
729::
418:Gallery
330:Fiesole
321:doors.
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186:in the
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949:Lives
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