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The Adoration of the Virgin represents the most typical production of Andrea Della Robbia’s workshop. The fortunate iconography is rendered through a simple and effective figuration, in line with Franciscan...
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The Adoration of the Virgin represents the most typical production of Andrea Della Robbia’s workshop. The fortunate iconography is rendered through a simple and effective figuration, in line with Franciscan devotion. The Madonna adoring the Child is facing to the right, as always in Andrea’s works, and is accompanied by God the Father, the dove of the Holy Spirit and six cherubs. This depiction, sometimes identified with the Incarnation, belongs to Andrea’s later production, dating to around 1490, characterized by the representation of God without a halo and by the bed of Jesus placed higher than in the original mould.
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11 APR 2022 · The Adoration of the Virgin represents the most typical production of Andrea Della Robbia’s workshop. The fortunate iconography is rendered through a simple and effective figuration, in line with Franciscan devotion. The Madonna adoring the Child is facing to the right, as always in Andrea’s works, and is accompanied by God the Father, the dove of the Holy Spirit and six cherubs. This depiction, sometimes identified with the Incarnation, belongs to Andrea’s later production, dating to around 1490, characterized by the representation of God without a halo and by the bed of Jesus placed higher than in the original mould.
The Adoration of the Virgin represents the most typical production of Andrea Della Robbia’s workshop. The fortunate iconography is rendered through a simple and effective figuration, in line with Franciscan...
show more
The Adoration of the Virgin represents the most typical production of Andrea Della Robbia’s workshop. The fortunate iconography is rendered through a simple and effective figuration, in line with Franciscan devotion. The Madonna adoring the Child is facing to the right, as always in Andrea’s works, and is accompanied by God the Father, the dove of the Holy Spirit and six cherubs. This depiction, sometimes identified with the Incarnation, belongs to Andrea’s later production, dating to around 1490, characterized by the representation of God without a halo and by the bed of Jesus placed higher than in the original mould.
show less
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| Author | MIC Faenza |
| Organization | MIC Faenza |
| Categories | Arts |
| Website | - |
| info@micfaenza.org |
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