The simple intimacy of the composition, along with the sweetness and familiarity expressed in the depiction and the attractiveness of the vibrant colours, must have resonated with the contemporary Florentine audience. Andrea continued the present composition, with further variations in the Christ Child's pose, the background, and the shape of the relief, until the first decade of the sixteenth century.
G. Gentilini, I Della Robbia e l'arte nuova della scultura invetriata, exh. cat., Fiesole, 1998, nos II.12-II.13; Les Della Robbia, Sculptures en terre cuite émaillée de la Renaissance italienne, exh. cat., Musée du Louvre, Paris, 2002, pp. 94-102; I Della Robbia, Il dialogo tra le Arti nel Rinascimento, exh cat., Arezzo, 2009, no. 58
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