03 — ARTWORK
Madonna and Child between Two Angels
- MEDIUM
- Glazed terracotta, diameter 100 cm
- TYPE
- Religious
PALETTE
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- FILE
- 1112 × 1100 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Madonna and Child between Two Angels c. 1450 Glazed terracottaUnglazed fired clay. It is used for architectural features and ornaments, vessels, and sculptures., diameter 100 cm Museo Nazionale del Bargello, Florence
This reliefA sculptural work in which all or part projects from the flat surface. There are three basic forms: low relief (bas-relief, basso rilievo), in which figures project less than half their depth from the background; medium relief (mezzo-rilievo), in which figures are seen half round; and high relief (alto rilievo), in which figures are almost detached from their background., called Madonna delle Cappuccine was in the first panelTerm in painting for a support of wood, metal, or other rigid substance, as distinct from canvas. Until the adoption of canvas in the 15th century nearly all the movable paintings of Europe were executed on wood, and even up to the beginning of the 17th century it is probable that as much painting was done on the one support as on the other. Painters who worked on a small scale often used copper panels (Elsheimer is a leading example), and in the colonial art of South America copper and tin and even lead and zinc were used. On a larger scale, slate has occasionally been used as a support, notably by Rubens for his altarpiece for Sta Maria in Vallicella (the Chiesa Nuova) in Rome; the picture he originally painted was said to reflect the light unpleasantly and slate was used for the replacement to produce a more matt finish. For wood panels the Italian masters of the Renaissance preferred white poplar, while oak was the most common wood used in northern Europe. Many other types were used, however; analysis of the contents of art galleries has yielded a long list, including beech, cedar, chestnut, fir, larch, linden, mahogany, olive, and walnut. In the 20th century cedar, teak, and dark walnut are favourites, and modern painters have also used plywood, fibre-board, and other synthetic materials as supports. on the left of the bronzeAn alloy of copper (usually about 90 per cent) and tin, often also containing small amounts of other metals such as lead or zinc. Since antiquity it has been the metal most commonly used in cast sculpture because of its strength, durability, and the fact that it is easily workable - both hot and cold - by a variety of processes. It is easier to cast than copper because it has a lower melting-point, and its great tensile strength makes possible the protrusion of unsupported parts - an advantage over marble sculpture. The colour of bronze is affected by the proportion of tin or other metals present, varying from silverish to a rich, coppery red, and its surface beauty can be enhanced when it acquires a patina. doors of the Old Sacristya side room of a church where a priest puts on his vestments and where the sacred vessels and vestments are kept. in the Florence CathedralThe principal church of a province or diocese, where the throne of the bishop is placed. For reasons lost to time and tradition, a cathedral always faces west - toward the setting sun. The altar is placed at the east end. The main body, or nave, of the cathedral is usually divided into one main and two side aisles. These lead up to the north and south transepts, or arms of the cross, the shape in which a cathedral is usually formed.. The modelling of the central group is related to the Madonna del Roseto.
CITE THIS RECORD — BIBTEX
@online{wga-r9f2877f41fe222,
author = {Krén, Emil and Marx, Daniel},
title = {Madonna and Child between Two Angels by ROBBIA, Luca della},
organization = {{Web Gallery of Art}},
date = {2026-09-09},
url = {https://beta.wga.hu/artists/robbia-luca-della-rede908a85d6948/madonna-and-child-between-two-angels-r9f2877f41fe222},
urldate = {2026-09-09},
langid = {english}
}ACCESSED 2026-09-09. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
