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Topic: Luca della Robbia

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	DELLA ROBBIA - LoveToKnow Article on DELLA ROBBIA (Site not responding. Last check: 2007-10-08)
		Other reliefs by Luca, also in glazed terra-cotta, are those of the Ascension and Resurrection in the tympani of the doors of the sacristies in the cathedral, executed in 1443 and 1446.
		GIovANNI DELLA ROBBIA (1469-1529?) during a great part of his life worked as assistant to his father, Andrea, and in many cases the enamelled sculpture of the two cannot be distinguished.
		GI1m0LAM0 DELLA ROBBIA (1488-1566), another of Andreas sons, was an architect and a sculptor in marble and bronze as well as in enamelled clay.
	83.1911encyclopedia.org /D/DE/DELLA_ROBBIA.htm (3792 words)

	AllRefer.com - Della Robbia (European Art To 1599, Biography) - Encyclopedia
		Many of the Della Robbia pieces are still in their original settings in Florence, Siena, and other Italian cities, but the finest collections are in Florence in the cathedral, the Bargello, and the Italian Academy, and in London in the Victoria and Albert Museum.
		Luca della Robbia, 1400?–1482, founder of the atelier, was known first as a sculptor in bronze and marble.
		Andrea della Robbia, 1435–1525?, nephew and chief pupil of Luca, made a marble altar for a church near Arezzo and extended the use of clay to whole altarpieces (one is in the Church of Santa Croce, Florence), friezes, and fountains.
	reference.allrefer.com /encyclopedia/D/DellaRob.html (406 words)

	Luca Della Robbia
		Luca della Robbia, being at the head of a firm, must have assumed the responsibility for the works that, during his lifetime, went under his name and came from his fabbrica.
		In deciding the authorship of many bas-reliefs of Luca della Robbia, art critics have allowed themselves to be led by intuition, and the judgment of the eye has been their only guide when documents have not been forthcoming.
		Even after gaining a thorough knowledge of the forms of Luca della Robbia's works, it is still difficult to decide whether the whole of a bas-relief was wrought by him, composed as the works are of different sections and pieces.
	www.oldandsold.com /articles30/robbia-1.shtml (589 words)

	Robbia, Italian family of sculptors (Site not responding. Last check: 2007-10-08)
		Robbia, name of an Italian family of Renaissance artists, known especially for their sculpture and ceramics, which flourished in Florence for nearly 150 years.
		Luca Della Robbia (1400?-82), originated glazed terra-cotta bas-reliefs, usually with white figures on a blue ground.
		Andrea's two sons, Giovanni della Robbia (1469?-1529?) and Girolamo della Robbia (1488-1566), also became skilled terra-cotta sculptors; however, their work was inferior to that of their father and uncle.
	www.cartage.org.lb /en/themes/Biographies/MainBiographies/R/RobbiaG/robbia.htm (295 words)

	Luca della Robbia - Wikipedia, the free encyclopedia
		Luca della Robbia (1400-1482) was a Florentine sculptor noted for his terracotta roundels.
		Della Robbia developed a pottery glaze that made his creations more durable in the outdoors and thus suitable for use on the exterior of buildings.
		His work is noted for its charm rather than the drama of the work of some of his contempories.
	en.wikipedia.org /wiki/Luca_della_Robbia (107 words)

	Luca della Robbia Biography / Biography of Luca della Robbia Biography Biography
		Luca della Robbia was praised by his compatriot Leon Battista Alberti for genius comparable to that of the sculptors Donatello and Lorenzo Ghiberti, the architect Filippo Brunelleschi, and the painter Masaccio.
		Although the data of Luca's first work in colored, glazed terra-cotta is not known, his control of this medium was clearly enough recognized to justify two major commissions for the Cathedral of Florence: the large reliefs Resurrection (1445) and Ascension of Christ (1446).
		Luca della Robbia died in Florence in February 1482.
	www.bookrags.com /biography-luca-della-robbia/index.html (532 words)

	Luca Della Robbia - Works In The National Museum, Florence
		Owing to its enormous proportions, it was not possible to find a Robbia to put in the centre, so the arms of the Rucellai family—a work in stone of the fourteenth century—was adapted.
		After examining the details we are led to suppose that Luca did not execute it entirely himself, and that inferior hands had their share in the work.
		Luca's fine colour-sense is shown in the charming greyish-blue of the background, which composes well with the green rose leaves, the violet bench, and the greyish - green of the sloping base."
	www.oldandsold.com /articles30/robbia-4.shtml (789 words)

	Luca della Robbia (from Della Robbia family) -- Britannica Student Encyclopedia
		Luca della Robbia (1399/1400–82) was the first and finest artist of this talented family.
		He was born Luca di Simone di Marco in Florence in 1399 or 1400, and he became an acclaimed sculptor of marble.
		Florentine sculptor, son of Andrea Della Robbia and grandnephew of Luca Della Robbia who, upon the death of his father in 1525, assumed control of the family workshop.
	www.britannica.com /ebi/article?tocId=199495 (674 words)

	Biography
		Renaissance) style, comparable to Donatello and Ghiberti in sculpture and Masaccio in painting, but he is now remembered mainly for his development of coloured, glazed terracotta as a sculptural medium — in particular for his highly popular invention of the type of the half-length Madonna and Child in white on a blue ground.
		Luca's business was carried on by his nephew Andrea (1435-1525), and later by Andrea's five sons, of whom Giovanni (1469-after 1529) was the most important.
		The famous roundels of infants on the façade of the Foundling Hospital in Florence (1463-66) were probably made by Andrea.
	www.wga.hu /bio/r/robbia/luca/biograph.html (282 words)

	Object of the Month - Della Robbia Wall Plaque
		This replica of an Andrea della Robbia wall plaque of the Madonna and Child is made of enameled terra cotta.
		Luca della Robbia (1400-1482) was the first in the family to establish its artistic tradition.
		It is almost certain that Luca della Robbia intended his white enameled terra cotta to have the appearance of polished marble.
	mcclungmuseum.utk.edu /objectmo/ob-9712.htm (866 words)

	Della Robbia on Encyclopedia.com (Site not responding. Last check: 2007-10-08)
		Luca della Robbia, 1400?-1482, founder of the atelier, was known first as a sculptor in bronze and marble.
		Andrea della Robbia, 1435-1525?, nephew and chief pupil of Luca, made a marble altar for a church near Arezzo and extended the use of clay to whole altarpieces (one is in the Church of Santa Croce, Florence), friezes, and fountains.
		The Virgin in Adoration, an unglazed terra-cotta relief, is in the National Gallery of Art, Washington, D.C. Andrea della Robbia's sons, Luca II, c.1480-1550, Giovanni, c.1469-c.1529, and Girolamo, c.1488-1566, carried on the family tradition into the 16th cent.
	www.encyclopedia.com /html/D/DellaR1ob.asp (494 words)

	[No title]
		LUCA DELLA ROBBIA, sculptor of Florence, was born in the year 1388, in the house of his forefathers, which stands under the church of S. Barnaba in Florence.
		Luca next endeavoured to discover a method of painting figures and subjects in the flat in terra cotta, in order to impart life to his representations.
		Luca's brothers, Ottaviano and Agostino, survived him, and the latter had a son, another Luca, who tvas a very learned man in his day.
	rubens.anu.edu.au /raider4/texts/vasari/vasari.robbia.html (3439 words)

	COMUNE di PISTOIA
		It is said that a woman of the della Robbia household stole the formula ta give to the competition; when she gave to the rivals the Madonna's head in which the formula was hidden, the head broke into pieces.
		The truth is that the technique required the application of a layer of shiny tin based enamel that, when it is fired with the clay in the kiln, farms a hard, shiny film that continues to preserve these fragile works in the open air, The inclusion of other minerals determines the different colors.
		Luca was certainly deservedly well praised for this invention as he has been for the sculpture which made him famous.
	www.comune.pistoia.it /eng/scoperta_24_eng.html (688 words)

	Della Robbia Luca: Biography
		Luca was the founder of the Della Robbia family's highly successful artistic activities.
		The surname Della Robbia in fact derives from "rubia tinctorum", a red dye used for fabrics.
		Luca's attention soon turned to sculpture and architecture, perhaps as a result of his acquaintance and friendship with the likes of Brunelleschi, Donatello, Ghiberti, Leon Battista Alberti, Michelozzo and Lorenzo il Magnifico.
	www.italica.rai.it /eng/principal/topics/bio/della_Robbia_L.htm (295 words)

	Girolamo della Robbia (Getty Museum) (Site not responding. Last check: 2007-10-08)
		Born into one of the most internationally famous families of the 1400s, Girolamo della Robbia was a third-generation sculptor and ceramist.
		The artist-biographer Giorgio Vasari reported that Luca della Robbia, Girolamo's grandfather, had invented the technique of glazing baked clay, or earthenware, but the family's closely guarded secrets actually revived ancient techniques.
		Della Robbia then returned to France, where he worked on marble sculptures until his death, but his ceramics remain the cornerstone of his reputation.
	www.getty.edu /art/collections/bio/a3429-1.html (203 words)

	Majolica And Luca Della Robbia
		Then, too, the borders of flowers in Luca's work, which Andrea had replaced by fruit, were less simple; the tin glaze-thin, almost transparent, sometimes absent from the flesh in the early masterpiecesbecame heavier and thicker.
		One son, Giovanni, continued to live at Florence; another, Luca the younger, established himself at Rome; whilst the third, Girolamo, came to France, where in 1528 he commenced the production of plaques for the Chateau of Madrid, which was completed before his death, about 1567.
		Della Robbia ware was made by other artists during the fifteenth and sixteenth centuries, in Perugia, Pisa, and other towns.
	www.oldandsold.com /articles05/pottery20.shtml (890 words)

	Luca della Robbia Online
		Luca della Robbia at the Detroit Institute of Arts, Michigan
		Luca della Robbia in the Art Renewal Center
		All images and text on this Luca della Robbia page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/robbia_luca_della.html (206 words)

	Cantori (Site not responding. Last check: 2007-10-08)
		The design and carving of one was assigned to Luca della Robbia and two years later the other was assigned to Donatello.
		Luca had not yet distinguished himself but his skill had probably come to the attention of the cathedral authorities through his work from the age of 14 to 21 on the Porta della Mandorla.
		The wooden galleries were replaced by larger ones of stone and those of Luca della Robbia and Donatello were reassembled in the Opera del Duomo (the museum of the cathedral).
	www.sculpturegallery.com /sculpture/cantori.html (353 words)

	Della Robbias
		The founder of the dynasty was Luca della Robbia (1399-1492), the creator of the famous marble reliefs of the choir loft in the Cathedral of Florence.
		Luca was the first to develop the process of coloring and glazing terra cotta and using it for sculpture and reliefs.
		The Della Robbias' success story ended in 1527, when the family was severely stricken by the plague.
	ah.phpwebhosting.com /a/DCTNRY/t/tc (335 words)

	Luca Della Robbia at the "Cappella dei Pazzi" (Site not responding. Last check: 2007-10-08)
		Luca Della Robbia at the "Cappella dei Pazzi"
		Luca Della Robbia's work in the "Cappella dei Pazzi" consists of the realisation of 16 figures that represent the four Evangelists and the 12 Apostles.
		Luca Della Robbia is a member of the Florentine family expert in decorating this kind of terracotta.
	atschool.eduweb.co.uk /itit/robbia.html (68 words)

	Ruskin MP I Notes (Site not responding. Last check: 2007-10-08)
		Luca della Robbia (1400-1482), Florentine sculptor, worked on the cycle of reliefs begun by Giotto on the Campanile of Florence cathedral, and made the first of the two singing galleries, and the bronze doors of the Cathedral sacristy.
		At Works, 4.301, Ruskin cites Luca della Robbia as providing a painful example of the effects of colour on solid forms.
		In a letter to John James Ruskin from Florence on 29 May 1845, he writes of Luca della Robbia's coloured porcelain reliefs on the Ospedale del Ceppo in Pistoia that they have the most 'vulgar effect conceivable, looking like the commonest signpost barbarisms.
	www.comp.lancs.ac.uk /computing/users/rgg/ruskin/Results/notes/brobbia01.htm (259 words)

	Florence Art Guide - The Sacristies
		The sacristy doors are surmounted with the glazed terracotta lunettes of the Ascension (old sacristy) and the Resurrection (new sacristy) by Luca della Robbia.
		The artist was also commissioned to carry out the two portals in bronze, a contract that Donatello had already turned down, but only carried out the one for the new sacristy, ordered in 1446 but not cast until 1474, with the help of Michelozzo and Maso di Bartolomeo.
		Two splendid marble Choir Lofts by Donatello (1433-38) and Luca della Robbia (1431-35, his first recorded work) were placed immediately above the sacristies until 1688; they are now exhibited in the Museum of the Opera del Duomo.
	www.mega.it /eng/egui/monu/bue.htm (296 words)

	Robbia, della
		A glazed terracotta altarpiece of the Virgin and Child with angels, and a chalice and dove overhead, by the Italian sculptor Giovanni della Robbia (1469–1529).
		Luca della Robbia (1400–1482) created a number of major works in Florence, notably the marble cantoria (singing gallery) in the cathedral 1431–38 (Museo del Duomo), with lively groups of choristers.
		Luca also developed a characteristic style of glazed terracotta work.
	www.tiscali.co.uk /reference/encyclopaedia/hutchinson/m0011839.html (173 words)

	The New York Review of Books: THE CASE OF LUCA DELLA ROBBIA
		When I wrote that "hypothetically Luca might have gravitated to the shop" of Michelozzo, I chose the tense deliberately because, after a very careful re-examination of the surviving monuments, I found no piece of figure sculpture in them, no detail and no ornament, that could with the remotest possibility be ascribed to Luca della Robbia.
		As for Alberti's encomium of Luca della Robbia—Janson's hero Michelozzo is not, of course, mentioned by Alberti—I concluded that it must relate not to past accomplishment but, as the phrase translated "genius for every laudable enterprise" would seem to indicate, to the work on which Luca was currently engaged.
		It is hard luck on Luca della Robbia that he (like Fra Angelico) should have been idolized in the nineteenth century, but this affords no license for truck-driver Janson to run him down.
	www.nybooks.com /articles/7425 (664 words)

	Walks in Florence: Churches, Streets and Palaces
		The founder of the Florentine hospital, at the corner of the via Oricellari and the Via della Scala, was a certain Cione di Lapo de' Pollini, whose marble bust is in the cortile of the Innocenti.
		In the lunette over the door of this church is a fine example of Luca della Robbia ware; the subject, a Madonna and Child, with St. Dominick on one side and a saint on the other, surrounded by a beautiful garland of fruit.
		The treatment of this relief differs from most of Della Robbia's: the Child lies on his side, and is not as lovely as in other representations, but the virgin and saints are grand and statuesque.
	www.florin.ms /hwalks33.html (3974 words)

	Florence
		Two matching lofts were originally installed in the Duomo, one by Donatello and one by Luca Della Robbia.
		The exuberance of the youthful musicians is a joy to behold, with details carved in the relief that are amazing, particularly the young bodies under the flowing robes.
		In the pendentives are heroic tondos by Della Robbia depicting the four Evangelists.
	www.casesf.com /Florence.htm (1535 words)

	LACMA Permanent Collections: European Paintings & Sculptures (Site not responding. Last check: 2007-10-08)
		The medium gained great popularity in fifteenth-century Florence and became a specialty of the della Robbia family studio, which was directed by Andrea after Luca, his uncle, died.
		This angel is a rare wax model for one of five figures commissioned for the pediment of the church of Santa Maria prèsso San Celso in Milan.
		Conceived in a late Renaissance style influenced by Michelangelo and Guglielmo della Porta, the models were made for approval of church officials by the artist Annibale Fontana before he began to carve the figures from expensive marble blocks.
	www.lacma.org /art/perm_col/europe/europe.htm (3166 words)

	artnet.com: Resource Library: Robbia, della: (1) Luca della Robbia (Site not responding. Last check: 2007-10-08)
		He was the son of Simone di Marco della Robbia, a member of the Arte della Lana, the wool-workers’ guild.
		According to Vasari, Luca was apprenticed to the goldsmith Leonardo di Ser Giovanni and at about the age of 15 was taken to Rimini where he made bas-reliefs for Sigismondo Pandolfo Malatesta; however this information is partly contradicted by chronology.
		Gaurico also indicated that Luca was trained as a goldsmith, and it is possible that he worked on the Adriatic with a Florentine master such as Niccolò di Piero Lamberti, who went to Venice in 1416.
	www.artnet.com /library/07/0723/T072352.asp (352 words)

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