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Andrea del Verrocchio was the preeminent sculptor in late fifteenth-century Florence and one of the leading artists in Renaissance Europe. In every genre of statuary, Verrocchio made formal and conceptual contributions of the greatest significance, and many of his sculptures, such as the Christ and St. Thomas and the Colleoni Monument, are among the masterpieces of Renaissance art. A favorite artist of Lorenzo de' Medici and the teacher of Leonardo da Vinci, Verrocchio was a key link between the innovations of the fifteenth century and the creations of the High Renaissance. This beautiful catalogue raisonné is the first comprehensive and detailed study of Verrocchio's extraordinary and innovative sculptures. Andrew Butterfield has combined careful visual analysis of the sculptures with groundbreaking research into their function, iconography, and historical context. In order to explain Verrocchio's contributions to the different genres of Renaissance sculpture, Butterfield provides new and important information on a broad range of issues such as the typology and social history of Florentine tombs, the theoretical problems in the production of perspectival reliefs, and the origins of the Figura serpentinata. Furthermore, Butterfield draws on a spectrum of often overlooked texts to elucidate fundamental iconographical problems, for example, the significance of David in quattrocento Florence. In its scope, depth, and clarity, The Sculptures of Andrea del Verrocchio will rank as one of the finest studies of an Italian sculptor ever published.
On the basis of extensive archival research, the essays in this volume examine the minutiae of object transaction in the late nineteenth-century art market within its social network and broader historical context.
Excerpt from Luca and Andrea Della Robbia, and Their Successors I wish to express my deep sense of gratitude for the kindness and help I have received in my work. Chieflyi am indebted to Dr. Gronau, who has aided me constantly with his advice, his knowledge of the subject, and in the search for and tran scription of documents. I owe much also to Professor Allan Marquand for personal help, besides what I have gained from his published Writings; to Cav. Guido Carocci, who has gene rously allowed me to incorporate in my List of Works the results of his own researches in the by-ways of Tuscany, and has made easy for me the removal of obstructions in churches, 8zc. To Cav. Giuseppe Castellucci, Architect to the Opera del Duomo, who has allowed me to publish notes and photographs of his discoveries concerning the Cantoria; to MM. Alinari, for permission to reproduce their photographs and for their kindness in allowing me to study from their large collection; to the Directors of the Archivio di Stato and of the Opera del Duomo for much courtesy and help, especially to Signor del Badia for his aid in deciphering the documents; to Dr. Bode for allowing me to reproduce photographs from his own publications otherwise not obtainable. Lastly to the private owners of works in Italy, Germany, and England I owe my thanks for the readiness with which their collections have been made accessible to me. Maud cruttwell. 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.