Misplaced Pages

#350649

25-472: The palace was designed in 1451-55 by Pagno di Lapo Portigiani from Fiesole for the Bolognini family, a senatorial family enriched by the trade in silk. The ground-floor portico, held up by columns with corinthian capitals, is divided from the upper floor by a cornice. The windows above are mullioned with peaked arches. The 19th-century additions within the upper window arches of medallions with busts recall

50-516: A less exalted role as a sculptor of decorative stonework. When Piero de' Medici planned to commission a marble tabernacle in the Gothic Chiesa della Santissima Annunziata , the church of the Servi di Maria, Florence, he consulted Michelozzo, who seems to have provided the design, but left the execution of its architectural enframement to Pagno di Lapo, whose inscription runs round the inside of

75-453: A palace in Italy is a stub . You can help Misplaced Pages by expanding it . Pagno di Lapo Portigiani Pagno di Lapo Portigiani (1408 — 1470) was an Italian Renaissance decorative sculptor , a minor follower of Donatello who worked on numerous occasions in projects designed and supervised by Michelozzo . Pagno di Lapo was born at Fiesole , near Florence . In 1426-28 Pagno di Lapo

100-556: A significant number of Early Renaissance sculptures have been associated with Pagno's name since the late nineteenth century, most notably the Madonna and Child at the Museo dell'Opera del Duomo. Modern scholars, however, assign to Michelozzo other sculptures Vasari assigns to Pagno di Lapo in the same passage, which Vasari had claimed for Michelozzo in the first edition of his Lives , and more recent documentation reassigns to Pagno di Lupo

125-572: A skillful carver of ornament, but the plastic décor of the structure contains so little of true sculpture that it yields small evidence of his artistic ability." Jansen considered the possibility that the altar table from the tabernacle, now in the Museo Bardini , Florence, was also Pagno's. Luca della Robbia Luca della Robbia ( / ˌ d ɛ l ə ˈ r ɒ b i ə / , also US : /- ˈ r oʊ b -/ , Italian: [ˈluːka della ˈrobbja, - ˈrɔb-] ; 1399/1400–1482)

150-509: Is noted for its charm rather than the drama of the work of some of his contemporaries. Two of his famous works are The Nativity ( c.  1460 ) and Madonna and Child ( c.  1475 ). In stone, his most famous work is also his first major commission, the choir gallery, Cantoria in the Florence Cathedral (1431–1438). Della Robbia was praised by his compatriot Leon Battista Alberti for genius comparable to that of

175-573: The Basilica of San Lorenzo and Palazzo Medici (both projects under Michelozzo again). Documents show that he was working on chapels for the Basilica of San Petronio in Bologna between 1451 and about 1469, never designated there as a scultore but as a stone-cutter or marble-worker. Nevertheless, he is credited with designing Palazzo Isolani on Piazza Santo Stefano , which was built between 1451-55. Basing their attributions on Giorgio Vasari ,

200-576: The Cantoria ("Singing Gallery"; 1431–1438) of Florence Cathedral came before he joined the sculptor's guild Arte dei Maestri di Pietra e Legname (for workers in stone and wood) in 1432. According to Vasari, the Medici family were responsible for securing the commission for him. His first documented commission was the Cantoria ("Singing Gallery"; 1431–1438) for the Cathedral of Florence . During

225-582: The Cardinal of Portugal in San Miniato, Florence. Another relief, acquired by the Victoria and Albert Museum in 1861, shows his free use of color: an enormous medallion containing the arms of René of Anjou , 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

250-487: The Virgin, of conventional type. The whole is surrounded by a rectangular frame formed of painted tiles. A bunch of flowers and fruit in 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

275-527: The architrave. Vasari, in noticing the inscription in time for his revision of Le Vite , revised his attribution of other sculptures at the Santissima Annunziata, attributing to Pagno metalwork that documents actually show to have been supplied by Maso di Bartolomeo, doubtless under Michelozzo's supervision; Vasari added to his attributions the Madonna and Child relief illustrated above, which

SECTION 10

#1732800845351

300-571: The effect on the Palazzo Bolognini Amorini Salina diagonally across the square. The palace was acquired during the 18th century by the senatorial Isolani family, originally from the island of Cyprus. Descendants are still in possession of structure. The interior galleries (Corte Isolani) lead to shops and a boutique hotel. 44°29′32.08″N 11°20′53.07″E  /  44.4922444°N 11.3480750°E  / 44.4922444; 11.3480750 This article about

325-409: The enamel painting of the center. Della Robbia's earliest surviving freestanding sculpture is the white tin-glazed terracotta Visitation in the church of San Giovanni Fuoricivitas 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:

350-465: The facade of the Pazzi Palace to commemorate René's visit to Florence in 1442. 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. In 1471, Luca della Robbia was elected president of

375-463: 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 baptistery doors. Arguably one of the most important existing works in marble by Luca is the tomb of Benozzo Federighi , bishop of Fiesole . Executed in 1454–1456,

400-600: The large reliefs of the Resurrection (also from 1445) and the Ascension of Christ (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 Twelve Apostles gracing

425-509: 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. 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

450-458: The sculptors Donatello and Lorenzo Ghiberti , the architect Filippo Brunelleschi , and the painter Masaccio . 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. Vasari , Gaurico , and several other early writers give contradictory accounts of Luca della Robbia's youth, training, and early works. He

475-545: The seven years it took della Robbia to carve the reliefs under the supervision of Brunelleschi , 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

500-495: 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. 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 Michelozzo ,

525-525: The tomb originally was placed in the church of San Pancrazio, Florence , but removed to San Francesco di Paola on the Bellosguardo road outside the city in 1783. In 1898, it was again moved to the church of Santa Trinita in Florence. An effigy of the bishop in a restful pose lies on a sarcophagus 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

SECTION 20

#1732800845351

550-514: Was already in the Opera del Duomo. On this slender basis early twentieth-century scholars erected an increased oeuvre for Pagno di Lapo, until in 1942 H.W. Jansen related the relief to a group of reliefs of the Madonna and Child, recognized as by the youthful Agostino di Duccio , under the influence of Luca della Robbia . The sole surviving identifiable work by Pagno di Lapo is the inscribed tabernacle frame, which Jansen found "shows him to have been

575-653: Was an Italian Renaissance sculptor from Florence . Della Robbia is noted for his colorful, tin-glazed terracotta statuary, a technique that he invented and passed on to his nephew Andrea della Robbia and great-nephews Giovanni della Robbia and Girolamo della Robbia . 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. The vibrant, polychrome glazes made his creations both more durable and more expressive. His work

600-563: Was born in Florence, the son of a member of the Arte della Lana (wool-workers guild ). He may have trained as a goldsmith under Leonardo di Ser Giovanni according to art historian Vasari, before working with Ghiberti on the famous doors of the Florence Baptistry . He was heavily influenced by Donatello , and in the 1420s, was used by the architect Filippo Brunelleschi for sculpture on his buildings. His important commission for

625-689: Was working as a stone-cutter in the joint shop of Donatello and Michelozzo in Pisa , during the production of the Coscia and Brancacci tombs. In 1428 he collaborated with two obscure stone-cutters on the decorative elements of the baptismal font in the Duomo of Siena , and as a garzone in Donatello's shop in connection with the resumed work on the pulpit for Prato, 1434. In Florence he was occupied between 1448 and 1451 with decorative carving executed concurrently for

#350649