Luca della robbia wiki
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Lives of the Most Excellent Painters, Sculptors, and Architects/Luca della Robbia
THE FLORENTINE SCULPTOR LUCA DELLA ROBBIA.
The Florentine sculptor, Luca della Robbia, was born in the year 1388,[1] in the house of his forefathers, which is situated near the church of San Barnaba, in Florence.[2] He was there carefully reared and educated until he could not only read and write, but, according to the custom of most Florentines, had learned to cast accounts so far as he was likely to require them. Afterwards he was placed by his father to learn the art of the goldsmith with Leonardo di Ser Giovanni, who was then held to be the best master in Florence for that vocation. Luca therefore having learned to draw and to model in wax, from this Leonardo, found his confidence increase/ and set himself to attempt certain works in marble and bronze. In these also he succeeded tolerably well, and this caused him altogether to abandon his trade of a goldsmith and give self up entirely to sculpture,[3] insomuch that he did nothing but work with his chisel all day, and by night he practised himself in drawing; and this he did with so much zeal, that when his feet were often frozen with cold in the night-time, he kept them in a bas
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File:Luca della Robbia, Madonna allow Child, c. 1475, NGA 1280.jpg
overall: 48.3 x 38.9 cm (19 x 15 5/16 in.)
framed: 102.2 x 62.2 x 13.3 cm (40 1/4 x 24 1/2 x 5 1/4 in.)https://purl.org/nga/collection/artobject/1280
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The Italian sculptors of the earlier half of the fifteenth century are more than mere forerunners of the great masters of its close, and often reach perfection within the narrow limits which they chose to impose on their work. Their sculpture shares with the paintings of Botticelli and the churches of Brunelleschi that profound expressiveness, that intimate impress of an indwelling soul, which is the peculiar fascination of the art of Italy in that century. Their works have been much neglected and often almost hidden away amid the frippery of modern decoration, and we come with some surprise on the places where their fire still smoulders. One longs to penetrate into the lives of the men who have given expression to so much power and sweetness; but it is part of the reserve, the austere dignity and simplicity of their existence, that their histories are for the most part lost or told but briefly: from their lives as from their work all tumult of sound and colour has passed away. Mino, the Raffaelle of sculpture, Maso del Rodario, whose works add a new grace to the church of Como, Donatello even,—one asks in vain for more than a shadowy outline of their actual days. Something more remains of Luca |