Madonna and Child
Artist: Andrea della Robbia (Italian (Florence), 1435-1525)
Artist: OR Luca della Robbia (Italian (Florence), 1399/1400 - 1482)
Date: about 1465-1470
Dimensions:
image: 29 x 20 1/8 x 4 1/2 in. (73.7 x 51.2 x 11.4 cm)
framed: 57 3/4 x 35 3/4 x 6 3/4 in. (146.7 x 90.8 x 17.1 cm)
Medium: tin-glazed earthenware
Classification: Sculpture
Credit Line: Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey
Object number: 1938.123
Label Text:In this elegant ceramic sculpture Mary embraces the Christ Child, who holds an apple. The apple is a reference to the Christian belief that Adam and Eve caused the Fall of Man by eating the fruit of the Tree of Knowledge. While the first Adam and Eve brought death into the world, Christ and Mary, the “second Adam” and the “second Eve,” brought eternal life.
Founder of a renowned family workshop, Luca della Robbia (1399/1400–1482) is credited with first applying tin oxide glazes (which turn white when fired in a kiln) to baked earthenware sculpture. Luca modified and refined the technique used for maiolica tableware (see case in this gallery) and his exact formula for glazes remains a della Robbia family secret.
Luca’s nephew Andrea (1435–1525), who was his most talented pupil, eventually took over the workshop. Late in Luca’s career the two artists often collaborated. Works like this one—which remained in the della Robbia family collection until 1879—were used to embellish some of the most important buildings of Renaissance Florence.
Founder of a renowned family workshop, Luca della Robbia (1399/1400–1482) is credited with first applying tin oxide glazes (which turn white when fired in a kiln) to baked earthenware sculpture. Luca modified and refined the technique used for maiolica tableware (see case in this gallery) and his exact formula for glazes remains a della Robbia family secret.
Luca’s nephew Andrea (1435–1525), who was his most talented pupil, eventually took over the workshop. Late in Luca’s career the two artists often collaborated. Works like this one—which remained in the della Robbia family collection until 1879—were used to embellish some of the most important buildings of Renaissance Florence.
On view
In Collection(s)