Photograph by Benjamin Cawthra. Day tourists join the lines for David or the Duomo. It resides partly in shadow, after all, and it does not yield its wonders in a quick walk-by or look-in.
Or rather, its lines and elements seem so clear and even obvious that its revolutionary nature is easily Luca della robia essay.
Filippo Brunelleschi is no longer assumed to have designed the entire structure, and perhaps murky attribution has lessened its luster somehow. When I went to Florence, it was the one place I felt I had to see because of its reputation as the turning point of Renaissance architecture, an ode to the horizontal as much as to the vertical, a refashioning of classical design for a bold new age, the age of not only the Pazzi family who commissioned the building, but supremely of the Medici.
One of our texts was the William Fleming classic Arts and Ideas. The harmonious spacing of the columns of the porch, the treatment of the walls as flat surfaces, and the balance of horizontal and vertical elements make his design the prototype of the Renaissance humanist style.
Of the interior, Fleming remarks that the dome with its pilastered walls and its simple, open, and relatively unadorned design made it influential in the Renaissance church plans of Alberti, Bramanti, and Michelangelo. I spent as much time as I could in the Pazzi during our tour, marveling at just how cool and elegant a space it is, especially compared to so many other church interiors in Italy that had been reworked in a kind of insistent counter-reformation baroque in the centuries that followed.
The Luca Della Robia terra cotta decorations in the inset roundels add both charm and color. Fleming owed not a little to the nineteenth-century Swiss scholar Jacob Burckhardt, whose classic The Civilization of the Renaissance in Italy did not by itself create the concept of the Renaissance as a retrospective name for an age seemingly set apart from the Middle Ages.
But it did do the work of solidifying and entrenching the concept. Burckhardt writes surprisingly little in this work on art or architecture; he saved his considerable thoughts on these for other volumes. But as he articulated his notions of just what themes, ideas, and trends constituted his Renaissance, themes that floated free of chronology and ranged over roughly years, he gave birth to the field of cultural history.
The titles for his lengthy essays not only describe his project but remained the core themes in the study of the Renaissance for more than a century: But as a way of seeing the world, and restaging it according to that envisioning, surely Burckhardt does not credit Renaissance humanism too much.
Burckhardt wrote a subjective brand of history before the social sciences had really established themselves. Director Roberto Rossellini staged the Renaissance in his Italian television film The Age of the Medicione of a series of openly didactic history films he created over the last two decades of his life.
The internecine conflicts involving first families, craft guilds, and various other points of allegiance roiled Florence for centuries.
The occasional spiritual retreat to the San Marco monastery is a given. It sounds like a rousing cinematic power play, but Rossellini, determined to teach through the mouths of his characters, throws dramatic convention to the winds, fashioning a meandering series of episodes without traditional narrative structure and with very little in the way of character development.
In his efforts to give us the facts, though, he succeeds in a greater kind of subjectivity yet. But this series of filmed speeches, this cinematic nave of self-contained frescoes, creates an unreal world that is, if not a clear representation of the Florentine Renaissance, a close document of what is important about that age to Roberto Rossellini.
By the third and final part of the film, Cosimo de Medici recedes into the background where, after all, he has already spent much of the film and Leon Battista Alberti, art theorist and nascent architect, takes over, and here the subjectivity described in Burckhardt, the self-awareness of historical change happening in real time, is most evident.
Art is and must be a science, he says. A painter must know geometry, and that is the future. In that future, an accomplished artist in film decided that ideas are more important than the conventions of his art. The Age of the Medici may disappoint our dramatic expectations, but its maker, like Jacob Burckhardt before him, surely could claim himself as a Renaissance man.Cantoria (singing loft) by Luca della Robbia, , his first known commission - Museo dell'Opera del Duomo, Florence Luca della Robbia (/–) was an Italian sculptor from Florence.
Della Robbia is noted for his colorful, tin-glazed terracotta statuary, a technique which he invented and passed on to his nephew Andrea della Robbia and great-nephews Giovanni della Robbia and.
Luca della Robbia by Burlamacchi, L. Marchesa. BiblioLife, Hardcover. Used:Good. Ships Fast. Expedite Shipping Available. Midway between these two systems–the system of the Greek sculptors and the system of Michelangelo–comes the system of Luca della Robbia and the other Tuscan sculptors of the fifteenth century, partaking both of the Allgemeinheit of the Greeks, their way of extracting certain select elements only of pure form and sacrificing all the rest, and the studied incompleteness of Michelangelo.
The Luca Della Robia terra cotta decorations in the inset roundels add both charm and color. I didn’t want to leave.
Fleming owed not a little to the nineteenth-century Swiss scholar Jacob Burckhardt, whose classic The Civilization of the Renaissance in Italy.
Robbia, Luca della ( - ) (dĕl´´Ә rŏb'ēӘ, Ital. dĕl'lä rôb'byä), Florentine family of sculptors and ceramists famous for their enameled terra-cotta or faience.
Many of the Della Robbia pieces are still in their original settings in Florence, Siena, and other Italian cities, but .
Luca Della Robia. Essay by theocrox04, Junior High, 9th grade, May download word file, 3 pages, Downloaded 35 times. Keywords Aristotle, Plato, Florence, fifteen years, Sculpture. 0 Like 0 Tweet.
Luca Della Robbia was born in the year of in Florence, Italy. He was raised like all children/5(9).