Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 80 værker af Luca Della Robbia i vores katalog
Kort sagt
Madonna and Child (1445) er det maleri af Luca Della Robbia, der vækker mest opsigt; originalen findes på Metropolitan Museum of Art, New York. Derefter falder blikket på Cantoria: third bottom relief (1431) og Bronze Doors of the New Sacristy (1446). Blandt de 80 værker af Luca Della Robbia i vores katalog er disse 79 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
To gaze upon this depiction of the Madonna and Child is to step directly into the luminous heart of the early Italian Renaissance. It captures not merely a portrait, but an eternal moment of divine connection—a quiet communion between mother and son that has resonated with humanity for centuries. The composition itself is masterfully arranged, centering the Virgin Mary in a posture of gentle support as she cradles the infant…
To gaze upon this relief is to step directly into the vibrant heart of the early Italian Renaissance. Depicting six youthful male figures, perhaps muses or celestial beings, these forms are captured in a moment of exquisite, shared resonance. The composition itself feels alive, a tightly woven tapestry of flesh and gesture rendered in pale beige-grey marble. One senses not merely stone, but the lingering warmth of human connection—a celebration…
Luca della Robbia’s “Bronze Doors of the New Sacristy,” crafted in 1446, stands as a testament to the burgeoning artistic spirit of early Florence. This extraordinary work, now meticulously reproduced at 420 x 200 cm, offers a captivating glimpse into the heart of the Renaissance – a period defined by an unprecedented reverence for classical antiquity and a profound exploration of human experience. More than just decorative panels, these doors…
To stand before Cantoria: second top relief is to step directly into the vibrant intellectual atmosphere of early Quattrocento Florence. This magnificent marble work, executed by the master craftsman Luca della Robbia in 1431, is far more than a mere sculptural grouping; it is a tangible echo of Renaissance humanism itself. The scene unfolds with an arresting sense of community, depicting a gathering of figures whose very presence speaks to…
In the heart of the Italian Renaissance, where the revival of classical antiquity met a new, profound humanism, Luca della Robbia breathed life into cold stone with his Cantoria: first bottom relief. Created in 1431, this exquisite marble masterpiece transcends its medium to capture a fleeting moment of pure, unadulterated jubilation. At first glance, the viewer is swept into a whirlwind of movement, as a group of nude male children—putti—engage…
To gaze upon Luca della Robbia's Cantoria: second top relief is to step directly into the vibrant, sun-drenched heart of Quattrocento Florence. This work is not merely a depiction of musicians; it is an effervescent portrait of community, artistry, and shared human joy. The scene unfolds with remarkable vitality, capturing a moment where music acts as the invisible thread weaving together a gathering of souls. One can almost hear the…
In the heart of the Florentine Renaissance, where the rebirth of classical ideals met a newfound passion for human emotion, Luca della Robbia carved a moment of eternal celebration into marble. His Cantoria: first top relief, completed in 1431, is not merely a sculpture but a rhythmic explosion of life captured in stone. To gaze upon this masterpiece is to be transported to a period of profound artistic awakening, where…
The air feels heavy with a quiet, holy peace as we gaze upon the Virgin Mary and her infant son. She cradles the child in a posture of gentle support, her presence radiating a soft, maternal warmth that seems to pull the viewer into her private world of devotion. The figures emerge from their medium with a peculiar, celestial glow, appearing almost as if they are made of light itself…
The Madonna of the Apple, crafted in exquisite terracotta by Luca della Robbia around 1455, is more than simply a depiction of the Virgin Mary cradling her Christ Child; it's a profound meditation on humanity’s relationship with divine grace, temptation, and redemption. Housed within the Museo Nazionale del Bargello in Florence, this sculpture stands as a testament to Della Robbia’s revolutionary technique – his masterful application of vibrant glazes to…
To stand before Cantoria: right side relief is to step directly into the vibrant heart of the early Italian Renaissance. This breathtaking marble sculpture, executed by the prodigious hands of Luca Della Robbia in 1431, is far more than a decorative panel; it is a frozen moment of profound human expression. It captures the very essence of communal artistry—the joy, devotion, and skill inherent in music. The scene unfolds with…
Cantoria: second bottom relief1431 · Museo dell'Opera del Duomo
12
Cantoria1431 · Museo dell'Opera del Duomo
13
Deliverance of St Peter from Prison1439 · Museo Nazionale del Bargello
14
Ceiling decoration1461 · San Miniato al Monte
15
Crucifixion of St Peter1439 · Museo Nazionale del Bargello
16
Cantoria: fourth top relief1431 · Museo dell'Opera del Duomo
17
Cantoria1431 · Museo dell'Opera del Duomo
18
Cantoria: fourth bottom relief1431 · Museo dell'Opera del Duomo
19
Madonna in a Rose-Garden (Madonna del Roseto)1450 · Museo Nazionale del Bargello
20
North Sacristy Doors with the Resurrection1442 · Duomo
21
Labours of the Months: June1450 · Victoria and Albert Museum
22
The Peretola Tabernacle1441 · Santa Maria Novella
23
Kristus og Thomas1465 · Szépművészeti Múzeum
24
Ascension of Christ1446 · Duomo
25
Nativity1460
26
Madonna and Child with Scroll1455 · Metropolitan Museum of Art
27
Saint Michael the Archangel1475 · Metropolitan Museum of Art
28
Tondo Portrait of a Lady1465 · Museo Nazionale del Bargello
29
Visitation1445 · San Giovanni Fuorcivitas
30
Resurrection1442 · Duomo
31
Cantoria: left side relief1431 · Museo dell'Opera del Duomo
32
Labours of the Months: January1450 · Victoria and Albert Museum
33
Cantoria: fourth top relief1431 · Museo dell'Opera del Duomo
34
Madonna and Child between Two Angels1450 · Museo Nazionale del Bargello
35
St James the Great1440
36
Monument to Bishop Benozzo Federighi1453 · Santa Trinità
37
Cantoria: first bottom relief (detail)1431 · Museo dell'Opera del Duomo
38
Cantoria: first bottom relief (detail)1431 · Museo dell'Opera del Duomo
39
Cantoria: first top relief (detail)1431 · Museo dell'Opera del Duomo
40
Cantoria: third bottom relief (detail)1431 · Museo dell'Opera del Duomo
41
Cantoria1431 · Museo dell'Opera del Duomo
42
Cantoria: second top relief (detail)1431 · Museo dell'Opera del Duomo
43
Cantoria: fourth bottom relief (detail)1431 · Museo dell'Opera del Duomo
44
Cantoria: second bottom relief (detail)1431 · Museo dell'Opera del Duomo
45
Cantoria: first bottom relief1431 · Museo dell'Opera del Duomo
46
Cantoria: third top relief1431 · Museo dell'Opera del Duomo
47
Cupola of the Portico1440
48
Visitation (detail)1445 · San Giovanni Fuorcivitas
49
Interior1440
50
Madonna and Child between Saints1449 · Galleria Nazionale delle Marche
51
Madonna and Child (9)1440
52
The Peretola Tabernacle (detail)1441 · Santa Maria Novella
53
Logic (or Philosophy)1437 · Museo dell'Opera del Duomo
54
Madonna and Child1455 · Museo Nazionale del Bargello
55
Madonna of the Apple (detail)1455 · Museo Nazionale del Bargello
56
Monument to Bishop Benozzo Federighi (detail)1453 · Santa Trinità
57
Madonna and Child1465 · Santa Maria
58
Monument to Bishop Benozzo Federighi (detail)1453 · Santa Trinità
59
Ceiling decoration1461 · San Miniato al Monte
60
Crucifixion (detail)1465 · Santa Maria
61
Madonna and Child (11)1455 · Orsanmichele
62
Crucifixion1465 · Santa Maria
63
Madonna and Child
64
Cantoria (detail)4
65
Tabernacle
66
Cantoria (detail)
67
Madonna and Child between Angels1475 · Museo Nazionale del Bargello
68
Candelabrum-Bearing Angel1448 · Duomo
69
Cantoria1431 · Museo dell'Opera del Duomo
70
Cantoria: fourth top relief (detail)1431 · Museo dell'Opera del Duomo
71
Candelabrum-Bearing Angel1448 · Duomo
72
Grammar1437 · Museo dell'Opera del Duomo
73
Madonna with Two Angels in Adoration1450
74
Cantoria (detail)6
75
Madonna of Roses
76
Meeting of Mary and Elisabeth
77
Christ and ThomasSzépművészeti Múzeum
78
Madonna with Child and AngelsPalazzo di Parte Guelfa
79
Cappuccini tondo
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Luca Della Robbia | Malerier fra denne liste |
|---|---|---|---|
 Museo dell'Opera del Duomo |
Firenze | 27 | Cantoria: third bottom relief, Cantoria: second top relief, Cantoria: first bottom relief |
 Museo Nazionale del Bargello |
Firenze | 9 | Madonna of the Apple, Deliverance of St Peter from Prison, Crucifixion of St Peter |
 Duomo |
Firenze | 6 | Bronze Doors of the New Sacristy, North Sacristy Doors with the Resurrection, Ascension of Christ |
 Metropolitan Museum of Art |
New York | 3 | Madonna and Child, Madonna and Child with Scroll, Saint Michael the Archangel |
 Santa Trinità |
Firenze | 3 | Monument to Bishop Benozzo Federighi, Monument to Bishop Benozzo Federighi (detail), Monument to Bishop Benozzo Federighi (detail) |
 Santa Maria |
Impruneta | 3 | Madonna and Child, Crucifixion (detail), Crucifixion |
 San Miniato al Monte |
Firenze | 2 | Ceiling decoration, Ceiling decoration |
 Victoria and Albert Museum |
London | 2 | Labours of the Months: June, Labours of the Months: January |
Vælg et årti for at se det originale værk, der definerer det.
To gaze upon this relief is to step directly into the vibrant heart of the early Italian Renaissance. Depicting six youthful male figures, perhaps muses or celestial beings, these forms are captured in a moment of exquisite, shared resonance. The composition itself feels alive, a tightly woven tapestry of flesh and gesture rendered in pale beige-grey marble. One senses not merely stone, but the lingering warmth of human connection—a celebration…
To gaze upon this depiction of the Madonna and Child is to step directly into the luminous heart of the early Italian Renaissance. It captures not merely a portrait, but an eternal moment of divine connection—a quiet communion between mother and son that has resonated with humanity for centuries. The composition itself is masterfully arranged, centering the Virgin Mary in a posture of gentle support as she cradles the infant…
The Madonna of the Apple, crafted in exquisite terracotta by Luca della Robbia around 1455, is more than simply a depiction of the Virgin Mary cradling her Christ Child; it's a profound meditation on humanity’s relationship with divine grace, temptation, and redemption. Housed within the Museo Nazionale del Bargello in Florence, this sculpture stands as a testament to Della Robbia’s revolutionary technique – his masterful application of vibrant glazes to…
A Celestial Harmony: Luca Della Robbia’s Renaissance Ceiling Luca Della Robbia's 1461 ceiling decoration at San Miniato al Monte in Florence is more than just an architectural embellishment; it’s a breathtaking testament to the innovative spirit of the Early Renaissance and the artist’s unparalleled mastery of terracotta. This magnificent work transports viewers to a realm of divine beauty, seamlessly blending religious devotion with artistic ingenuity. Subject & Composition The decoration…
Saint Michael the Archangel is a high-relief glazed terracotta lunette created by Luca della Robbia. Dating to 1475, the work represents the Archangel Michael, a figure central to Christian iconography. The sculpture is currently held at the Metropolitan Museum of Art in New York.
Madonna and Child (1445), Metropolitan Museum of Art, New York. Derefter følger Cantoria: third bottom relief (1431) og Bronze Doors of the New Sacristy (1446).
46 år gammel: Madonna and Child er fra 1445, og Luca Della Robbia blev født i 1399.
Madonna and Child, Cantoria: third bottom relief, Bronze Doors of the New Sacristy, Cantoria: second top relief, Cantoria: first bottom relief, Cantoria: second top relief, Cantoria: first top relief, Madonna and Child, Madonna of the Apple og Cantoria: right side relief. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 80 værker af Luca Della Robbia, dateret fra 1431 til 1475.
Primært i Museo dell'Opera del Duomo (Firenze), Museo Nazionale del Bargello (Firenze) og Duomo (Firenze). Museumslisten ovenfor viser dem alle.
I 1430s: 29 af de 79 værker på denne side blev skabt dengang, herunder Cantoria: third bottom relief.
På denne side er det tidligste Cantoria: third bottom relief (1431) og det seneste Saint Michael the Archangel (1475).
Terracotta sculpture (12), Relief sculpture (9) og Virgin mary (8), fordelt på de 79 værker på denne side.
Terracotta, for 16 af de 79 værker på denne side.
Renaissance, baseret på originalerne på denne side.
Cantoria: third bottom relief, Cantoria: second top relief og Cantoria: first bottom relief: Museo dell'Opera del Duomo, Firenze har 27 af værkerne på denne side.
I hjertet af den florentinske renæssance, en periode defineret ved genfødslen af klassiske idealer og stræben efter anatomisk perfektion, trådte Luca della Robbia frem som en visionær, der transformerede selve skulpturens medie. Mens hans samtidige ofte søgte ære i marmorens tunge bestandighed eller bronzens skinnende prestige, fandt Luca en dyb, lysende skønhed i den ydmyge jord. Hans liv, der strakte sig fra 1lag 1399 til 1482, var dedikeret til perfektioneringen af tin-glaseret terracotta – en teknik, som ikke blot ville definere hans personlige eftermæle, men også give en levende, farverig stemme til Italiens religiøse og borgerlige landskaber.
Luca blev født ind i en slægt af dygtige håndværkere i Firenze, og hans tidlige år var gennemsyret af de stringente traditioner fra de florentinske værksteder. Selvom meget af hans formative periode forbliver skjult bag historiens tåger, blev hans kunstneriske DNA utvivlsomt formet af sin tids giganter. Han bevægede sig i de samme intellektuelle og kreative cirkler som Donatello og Ghiberti, hvor han opsugede den spirende humanistiske ånd, der søgte at forene kristen hengivenhed med antikkens ynde. Hans tidlige forbindelser, især hans arbejde på de monumentale projekter i dåbskapellet i Firenze, gav ham mulighed for at være vidne til naturalismens udvikling – en bevægelse mod at indfange menneskelige følelsers subtile nuancer og livets delikate teksturer.
Luca della Robbias sande geni lå i hans evne til at innovere inden for et medie, der tidligere blev betragtet som sekundært i forhold til sten. Ved at udvikle en specialiseret tin-glasur opnåede han en strålende, vejrbestandig finish, der muliggjorde en slående palet af hvide og blå nuancer. Denne teknik, ofte omtalt som della Robbia-keramik, bragte en hidtil uset lysstyrke til skulpturelle relieffer. I modsætning til marmorens monokrome strenghed besad Lucas værker en himmelsk glød, hvilket gjorde dem ideelle til kirkernes altre og klostre, hvor lyset spilleet en afgørende rolle i den spirituelle fordybelse.
Hans tekniske mesterskab gjorde det muligt for ham at bygge bro mellem finkunst og dekorativ ekspertise. Processen krævede en intim viden om kemi og ovntemperaturer for at sikre, at glasuren hæftede perfekt til leret uden at krakelere eller miste sin glans. Denne innovation havde en gennemgribende betydning for kunstens tilgængelighed; mens marmor var forbeholdt de mest eksklusive bestillinger, kunne Lucas glaserede terracotta produceres med en vis grad af gentagelig kvalitet, hvilket tillod hans æstetik at gennemtrænge både storslåede katedraler og mindre, mere intime andagtsrum.
Temaerne i Lucas værk var dybt forankret i Quattrocento-periodens religiøse iver. Hans skulpturer fungerede som visuelle prædikener, designet til at fremkalde ømhed, fromhed og ærefrygt. Gennem hans hænder blev de mest hellige figurer fra den kristne tradition fremstillet med en menneskelig varme, der resonerede dybt hos de troende.
Bemærkelsesværdige højdepunkter i hans karriere inkluderer:
Udover hans individuelle tekniske triumfer ligger Luca della Robbias historiske betydning i etableringen af en varig kunstnerisk dynasti. Hans værksted blev et fyrtårn for florentinsk håndværk og påvirkede generationer af skulptører og dekoratører over hele Europa. Ved at ophøje terracotta fra et brugskunst-medie til en højere kunstform, udvidede han renæssancens sprog og sikrede, at glansen fra hans glaserede jord ville fortsætte med at skinne længe efter, at mestrets æra var passeret.
