Della Robbias in America


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Della Robbia


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The glazed terracotta technique invented by Luca della Robbia, along with his exceptional skill as a sculptor, placed him firmly in the first rank of Renaissance artists in the fifteenth century. This quintessentially Florentine art - taking the form of dazzling multicoloured ornaments for major buildings, delicately modelled and ingeniously constructed freestanding statues, serene blue-and-white devotional reliefs, charming portraits of children, and commanding busts of rulers, along with decorative and liturgical objects - flowed in abundance from the Della Robbia workshops for a hundred years. Developed further by each generation, the closely held technique achieved new heights of refinement and durability in modelling and colour, combining elements of painting and sculpture into a new and all but eternal medium. In the 19th century, revived interest in the Renaissance and in the Della Robbia brought their works into major collections beyond Italy, particularly in England and the United States. Recently, renewed attention from art historians, backed by sophisticated technical studies, has reintegrated the Della Robbia into the mainstream of Renaissance art history and illuminated their originality and accomplishments. This beautifully illustrated book invites readers to experience one of the great inventions of the Renaissance and the enduring beauty it captured.




Della Robbias in America


Book Description

Excerpt from Della Robbias in America When Cavallucci and Molinier published in 1884 a catalogue of all the then known works of the Della Robbias, four hundred and eighty-one in number, they knew of only one in America. By 1902, when Miss Crutt-well's book on Luca and Andrea della Robbia appeared, the total list had been increased to nearly eleven hundred. Of these only ten were in this country. At the present time America is known to possess more than seventy examples of Della Robbia work. As I have in mind some day to publish a general catalogue of all the known works of the Robbia School, I might well defer until that day the publication of those which have reached this country. But as new examples are constantly arriving from Europe, in many cases improperly attributed and offered at enormous prices, I have persuaded myself that the present publication may be of service to collectors in this very special field of art. It is my hope also that some reader of this volume may in turn render me a service and direct my attention to Robbias still unknown to me. I take this opportunity of thanking Dr. W. R. Valentiner of the Metropolitan Museum of Art for directing my attention to various examples in private collections. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




The Della Robbia Pottery


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A full history of the Della Robbia Pottery with illustrations of many of the fine pieces of pottery which were made there.







Luca & Andrea Della Robbia and Their Successors


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Italian Backgrounds


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For ten days we had not known what ailed us. We had fled from the August heat and crowd of the Vorderrheinthal to the posting-inn below the Splügen pass; and here fortune had given us all the midsummer tourist can hope for—solitude, cool air and fine scenery. A dozen times a day we counted our mercies, but still privately felt them to be insufficient. As we walked through the larch-groves beside the Rhine, or climbed the grassy heights above the valley, we were oppressed by the didactic quality of our surroundings—by the aggressive salubrity and repose of this bergerie de Florian. We seemed to be living in the landscape of a sanatorium prospectus. It was all pleasant enough, according to Schopenhauer’s definition of pleasure. We had none of the things we did not want; but then we did not particularly want any of the things we had. We had fancied we did till we got them; and as we had to own that they did their part in fulfilling our anticipations, we were driven to conclude that the fault was in ourselves. Then suddenly we found out what was wrong. Splügen was charming, but it was too near Italy. One can forgive a place three thousand miles from Italy for not being Italian; but that a village on the very border should remain stolidly, immovably Swiss was a constant source of exasperation. Even the landscape had neglected its opportunities. A few miles off it became the accomplice of man’s most exquisite imaginings; but here we could see in it only endless material for Swiss clocks and fodder. The trouble began with our watching the diligences. Every evening we saw one toiling up the pass from Chiavenna, with dusty horses and perspiring passengers. How we pitied those passengers! We walked among them puffed up with all the good air in our lungs. We felt fresh and cool and enviable, and moralized on the plaintive lot of those whose scant holidays compelled them to visit Italy in August. But already the poison was at work. We pictured what our less fortunate brothers had seen till we began to wonder if, after all, they were less fortunate. At least they had been there; and what drawbacks could qualify that fact? Was it better to be cool and look at a water-fall, or to be hot and look at Saint Mark’s? Was it better to walk on gentians or on mosaic, to smell fir-needles or incense? Was it, in short, ever well to be elsewhere when one might be in Italy?




Luca Della Robbia


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Della Robbias in America


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Luca & Andrea Della Robbia and Their Successors


Book Description

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.