Through meticulously researched case studies, this book explores the materiality of terracotta sculpture in early modern Europe.
Through meticulously researched case studies, this book explores the materiality of terracotta sculpture in early modern Europe.
Chapters present a broad geographical perspective showcasing examples of modelling, firing, painting, and gilding of clay in Portugal, Spain, Italy, Germany, and the Netherlands. The volume considers known artworks by celebrated artists, such as Luca della Robbia, Andrea del Verrocchio, Filipe Hodart, or Hans Reichle, in parallel with several lesser-studied terracotta sculptures and tin-glazed earthenware made by anonymous artisans. This book challenges arbitrary distinctions into the fine art and the applied arts, that obscured the image of artistic production in the early modern world. The centrality of clay in the creative processes of artists working with two- and three-dimensional artefacts comes to the fore. The role of terracotta figures in religious practices, as well as processes of material substitutions or mimesis, confirm the mediums significance for European visual and material culture in general.
This book will be of interest to scholars working in art history, Renaissance studies, and material culture.
Introduction: Materiality, Scale, and Status of Early Modern Terracotta
Part I: Material Migrations
1. Materiality as Incentive to Stylistic
Innovation in Earthenware from Bergen op Zoom (15th-16th century)
2. Making a
Virtue out of a Necessity: Lorenzo Mercadantes Use of Terracotta in Seville
Cathedral
3. Episodes of the Arts of Fire in Portugal during the Renaissance
Part II: Terracotta and Design
4. Hans Reichles Contribution to the
Practice of Terracotta Sculpture in Tyrol
5. Luca della Robbias Labors in
Terracotta
6. Clay Models in Verrocchios Workshop
7. The Primacy of
Terracotta. Sculptures for Painting in Sixteenth-Century Renaissance Florence
Part III: Mimetic Ventures
8. Glazed Ornament between Architecture and
Altarpieces: Luca and Andrea della Robbia in Impruneta and Pescia
9. The
Transformation of Della Robbia Garland Frames: From Luca through Giovannis
Antinori Resurrection
10. Face, Surface, Interface. Some Observations on
Polychrome Florentine Terracotta Busts
11. Antonio Begarelli and Small-Scale
Terracotta Sculpture Part IV: Contexts and Values
12. Della Robbia Sculptures
for Florentine Renaissance Convents
13. "Ut firmetur quod formatum est"
Augustinian Terracottas, and a Note on Two Sculptures from the Budapest
Museum of Fine Arts
14. The Papal Clay: Firing Terracotta Sculptures in
Sixteenth-Century Rome
15. Exceeding Expectations: Antonio Begarelli, His
Female Patrons, and the Misunderstood Materialities of White Terracotta
16.
Conversation on the Terracotta Sculpture in the Renaissance: Recollections,
Reflections and Proposals
Zuzanna Sarnecka is an Assistant Professor in the Institute of Art History at the University of Warsaw.
Agnieszka Dziki is a PhD candidate in Art History at the University of Warsaw, Poland and the University of Cologne, Germany.
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