Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Le développement de l'archéologie de la période moderne a largement contribué au renouveau des connaissances sur la faïence. Des pans entiers de culture matérielle, de la fin du Moyen Âge à la Renaissance et au XVIIe siècle, sont ainsi révélés par de récentes fouilles archéologiques, tant en France qu'en Belgique. Cet ouvrage réunit onze contributions, présentées à l'occasion de la table ronde internationale de Sens, qui permettent d'aborder différents aspects touchant à la fabrication, l'utilisation et la diffusion de ces vaisselles et objets luxueux, qui ne seront popularisés qu'à partir de la fin de l'Ancien Régime. Où, quand et pour qui étaient fabriquées ces céramiques diffusées sur un vaste territoire, jusqu'en Amérique comme le montrent les découvertes du fort Cartier-Roberval à Québec. Originaires de France (Lyon, Montpellier, Nevers, Rouen...), d'Espagne, d'Italie ou de Belgique, ces majoliques et faïences témoignent de la circulation des hommes, des techniques et des styles. Grâce aux apports de l'archéologie, tout particulièrement de l'archéologie préventive, cet ouvrage propose une vision actualisée de nos connaissances de la majolique et de la faïence en France et en Belgique du XVe au XVIIe siècle.

Majolique de la Renaissance --- Majolique --- Faience --- Majolica --- Excavations (Archaeology) --- Faïences --- Fouilles (Archéologie) --- Congresses --- Congrès --- France --- Faïences --- Fouilles (Archéologie) --- Congrès

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book explores the role of glazed terracotta sculpture in Renaissance Italy, from c. 1450 to the mid-1530s. In its brightness and intense colour glazed terracotta strongly attracted the viewer's gaze. Its pure and radiant surfaces also had the power to raise the mind and soul of the faithful to contemplation of the divine. The quasi-magical process of firing earthenware coated with tin-based paste, promoted initially by imports from the East, was seized upon by Luca della Robbia, who realised that glazed terracotta was the ideal vehicle for the numinous. He began to create sculptures in the medium in the 1430s, and continued to produce them for the rest of his life. After Luca's death, his nephew, Andrea della Robbia, inherited his workshop in Florence and continued to develop the medium, together with his sons. The book considers some of the large-scale altarpieces created by the Della Robbia family in parallel with a number of small-scale figures in glazed terracotta, mostly made by unidentified sculptors. The captivating illustrations integrate these two categories of glazed terracotta sculpture into the history of Italian Renaissance art. By focusing on a specific artistic medium which stimulated piety in both ecclesiastical and domestic contexts, this book offers new ways of thinking about the religious art of the Italian Renaissance. The links it establishes between lay devotion and the creation of religious images in glazed terracotta invite reassessment of habitual distinctions between private and public art.

Terra-cotta sculpture, Renaissance --- Terra-cotta sculpture, Italian --- Christian art and symbolism --- Robbia family --- Sculpture --- Applied arts. Arts and crafts --- sculpture [visual works] --- terracottas [sculptural works] --- glazed terracotta --- Italian Renaissance-Baroque styles --- anno 1400-1499 --- Italy --- Terra-cotta --- Renaissance --- Italië --- Terres cuites --- Sculpture en terre cuite de la Renaissance --- Céramique vernissée --- Majolique de la Renaissance --- Della Robbia --- Critique et interprétation. --- Art --- History. --- Della Robbia, Andrea, --- Della Robbia, Luca,