Virgin and Child: in sala — Art Institute of Chicago

Although frequently described as a humble and austere medium, clay was perennially popular during the Italian Renaissance and could be modeled with notable sophistication. Clay was especially acceptable for finished works of art made in areas where marble or bronze was prohibitively expensive. Once completed, this sculpture was sliced with fine wire into at least four sections, and extremities like the Virgin’s head and hands and the Christ Child were fired separately. After firing, these elements were reassembled and painted. The Virgin and Child appears to be the work of an artist trained in Tuscany with some knowledge of the sculpture of Donatello and his partner Michelozzo.

Virgin and Child

Sulla scultura

Scheda

Nella stessa sala · Gallery 205, Art Institute of Chicago

Sullo stesso tema · Virgin and child/Madonna and child

Sì, riceve visite

Che cosa raffigura

In catalogo

Fonti

Virgin and Child with the Young Saint John the Baptist, c. 1515

The Nativity, 1504/07

Francesco de' Medici, c. 1560

Virgin and Child with Two Angels, c. 1490

Portrait of a Noblewoman Dressed in Mourning, c. 1600

Lucrezia di Lippo di Iacopo Guidi, 1525/28

Christ Carrying the Cross, 1515–17

Hercules and Lichas, 1600–1625

Virgin and Child with the Young Saint John the Baptist, c. 1515

The Holy Family with Saints Elizabeth and John the Baptist, c. 1615

The Nativity, 1504/07

Virgin and Child with Two Angels, c. 1490

The Adoration of the Christ Child, c. 1515

Retable and Frontal of the Life of Christ and the Virgin, 1396

Triptych Icon, Late 17th century

Panels from the High Altar of the Charterhouse of Saint-Honoré, Thuison-les-Abbeville: Virgin and Child, c. 1495