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Benedetto Buglioni, 1459/ 60 Florence - 1521, attributed PAIR OF ANGELS HOLDING CANDLESTICKS Height:
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Benedetto Buglioni,
1459/ 60 Florence - 1521, attributed PAIR OF ANGELS HOLDING CANDLESTICKS Height: ca. 73 cm each. Florence, ca. 1490/ 1500. A thermoluminescence analysis, issued in Milan on 30 January 2015 is enclosed. We would like to thank Giancarlo Gentilini for this catalogue entry. Terracotta, with white glaze. These two lively, friendly angels are like two eager acolytes. They are wearing wide garments with puffy sleeves decorated with crossed ribbons, but with a stiff collar - typical for the iconography of Florentine art of the late 15th century. In one hand, both angels carry an elegant ''antique'' candlestick, a compound of two goblet shapes decorated with lance-shaped leaves and rhombi, while the other hand humbly rests on their chests. The angel with a head of full, curly hair looks around with large eyes full of joyful wonder and slightly parted lips. In contrast, the other has a mischievous smile under his long magnificent head of hair. It can thus be assumed that the two candle holder sculptures originally framed a joyful image, such as a Nativity. It can further be assumed that this was also a glazed terracotta work (as was consistently common in the Della Robbia workshops), framed by both angels, which would have stood on an altar on the wall. This can be gathered from the cursory finish of the reverse of the sculptures (even if the feathers of the wings are still finely crafted). The sculptures were probably formed directly in clay, without the assistance of a mould, as was otherwise customary for terracotta works at the time. In fact, no other works of this type are known. The surface is glazed entirely in opaque brilliant white. Only the eyes and eyebrows are visualized with traces of manganese. As was often the case with sculptures from the Della Robbia workshops, the precious golden ''white heightening'' that probably emphasized details and decorated wooden or metal nimbi, fell victim to the taste of the time. The childlike grace of these two angels with their expressive faces and dynamic posture is reminiscent of the premium depictions of sculptors such as Verrocchio, Antonio Rossellino and Benedetto da Maiano, though interpreted more naively. The more pleasing facial features and the intentional formal simplification imply Bendetto Buglioni, to whom these two works were already attributed in a detailed paper (Gentilini 1992, II, p. 400; Id., 2004, p. 18). Benedetto Buglioni was a versatile sculptor of the School of Verrocchio. Initially, around 1490, he worked together with his brother Francesco in Perugia and later with his nephew Santi, who was also a specialist for glazed terracotta sculptures. He created numerous beautiful works that show similarities with works by his contemporary Andrea della Robbia (from whom he, as Vasari puts it, ''stole'' his art) regarding the technique as well as their manner of representation. However, Buglioni's works are more easily accessible, they have a greater stylistic versatility and a greater simplicity, which accommodated the people's piety. Nevertheless, the artist also found recognition with more discerning and accomplished clients, especially at the start of his career. Thus the following works were created: for the Church of Santa Annunziata in Florence (Cristo al Limbo, 1484, no longer in place), for the Cathedral of Pistoia (Resurrezione, Museo Civico, 1490), for Pope Innocent VIII (Stemma papale sorretto da angeli, 1484/1492, Vatican Museums, Rome), Cardinal Giovanni de' Medici (son of Lorenzo ''il Magnifico'', the later Pope Leo X, who charged him with creating various terracotta works for the pilgrimage church of Santa Cristina in Bolsena) or for Leonardo Buonafede, the powerful Spedalingo [Father Superior] of Santa Maria Nuova, who consigned Buglioni with the sculptural decoration of the pilgrimage church of die Santa Maria delle Grazie near Stia in 1500 (Marquand 1921; Gentilini 1992, II, pp. 390-449; Domestici 1988; Eadem, in I della robbia,
1459/ 60 Florence - 1521, attributed PAIR OF ANGELS HOLDING CANDLESTICKS Height: ca. 73 cm each. Florence, ca. 1490/ 1500. A thermoluminescence analysis, issued in Milan on 30 January 2015 is enclosed. We would like to thank Giancarlo Gentilini for this catalogue entry. Terracotta, with white glaze. These two lively, friendly angels are like two eager acolytes. They are wearing wide garments with puffy sleeves decorated with crossed ribbons, but with a stiff collar - typical for the iconography of Florentine art of the late 15th century. In one hand, both angels carry an elegant ''antique'' candlestick, a compound of two goblet shapes decorated with lance-shaped leaves and rhombi, while the other hand humbly rests on their chests. The angel with a head of full, curly hair looks around with large eyes full of joyful wonder and slightly parted lips. In contrast, the other has a mischievous smile under his long magnificent head of hair. It can thus be assumed that the two candle holder sculptures originally framed a joyful image, such as a Nativity. It can further be assumed that this was also a glazed terracotta work (as was consistently common in the Della Robbia workshops), framed by both angels, which would have stood on an altar on the wall. This can be gathered from the cursory finish of the reverse of the sculptures (even if the feathers of the wings are still finely crafted). The sculptures were probably formed directly in clay, without the assistance of a mould, as was otherwise customary for terracotta works at the time. In fact, no other works of this type are known. The surface is glazed entirely in opaque brilliant white. Only the eyes and eyebrows are visualized with traces of manganese. As was often the case with sculptures from the Della Robbia workshops, the precious golden ''white heightening'' that probably emphasized details and decorated wooden or metal nimbi, fell victim to the taste of the time. The childlike grace of these two angels with their expressive faces and dynamic posture is reminiscent of the premium depictions of sculptors such as Verrocchio, Antonio Rossellino and Benedetto da Maiano, though interpreted more naively. The more pleasing facial features and the intentional formal simplification imply Bendetto Buglioni, to whom these two works were already attributed in a detailed paper (Gentilini 1992, II, p. 400; Id., 2004, p. 18). Benedetto Buglioni was a versatile sculptor of the School of Verrocchio. Initially, around 1490, he worked together with his brother Francesco in Perugia and later with his nephew Santi, who was also a specialist for glazed terracotta sculptures. He created numerous beautiful works that show similarities with works by his contemporary Andrea della Robbia (from whom he, as Vasari puts it, ''stole'' his art) regarding the technique as well as their manner of representation. However, Buglioni's works are more easily accessible, they have a greater stylistic versatility and a greater simplicity, which accommodated the people's piety. Nevertheless, the artist also found recognition with more discerning and accomplished clients, especially at the start of his career. Thus the following works were created: for the Church of Santa Annunziata in Florence (Cristo al Limbo, 1484, no longer in place), for the Cathedral of Pistoia (Resurrezione, Museo Civico, 1490), for Pope Innocent VIII (Stemma papale sorretto da angeli, 1484/1492, Vatican Museums, Rome), Cardinal Giovanni de' Medici (son of Lorenzo ''il Magnifico'', the later Pope Leo X, who charged him with creating various terracotta works for the pilgrimage church of Santa Cristina in Bolsena) or for Leonardo Buonafede, the powerful Spedalingo [Father Superior] of Santa Maria Nuova, who consigned Buglioni with the sculptural decoration of the pilgrimage church of die Santa Maria delle Grazie near Stia in 1500 (Marquand 1921; Gentilini 1992, II, pp. 390-449; Domestici 1988; Eadem, in I della robbia,
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Benedetto Buglioni,
1459/ 60 Florence - 1521, attributed PAIR OF ANGELS HOLDING CANDLESTICKS Height: ca. 73 cm each. Florence, ca. 1490/ 1500. A thermoluminescence analysis, issued in Milan on 30 January 2015 is enclosed. We would like to thank Giancarlo Gentilini for this catalogue entry. Terracotta, with white glaze. These two lively, friendly angels are like two eager acolytes. They are wearing wide garments with puffy sleeves decorated with crossed ribbons, but with a stiff collar - typical for the iconography of Florentine art of the late 15th century. In one hand, both angels carry an elegant ''antique'' candlestick, a compound of two goblet shapes decorated with lance-shaped leaves and rhombi, while the other hand humbly rests on their chests. The angel with a head of full, curly hair looks around with large eyes full of joyful wonder and slightly parted lips. In contrast, the other has a mischievous smile under his long magnificent head of hair. It can thus be assumed that the two candle holder sculptures originally framed a joyful image, such as a Nativity. It can further be assumed that this was also a glazed terracotta work (as was consistently common in the Della Robbia workshops), framed by both angels, which would have stood on an altar on the wall. This can be gathered from the cursory finish of the reverse of the sculptures (even if the feathers of the wings are still finely crafted). The sculptures were probably formed directly in clay, without the assistance of a mould, as was otherwise customary for terracotta works at the time. In fact, no other works of this type are known. The surface is glazed entirely in opaque brilliant white. Only the eyes and eyebrows are visualized with traces of manganese. As was often the case with sculptures from the Della Robbia workshops, the precious golden ''white heightening'' that probably emphasized details and decorated wooden or metal nimbi, fell victim to the taste of the time. The childlike grace of these two angels with their expressive faces and dynamic posture is reminiscent of the premium depictions of sculptors such as Verrocchio, Antonio Rossellino and Benedetto da Maiano, though interpreted more naively. The more pleasing facial features and the intentional formal simplification imply Bendetto Buglioni, to whom these two works were already attributed in a detailed paper (Gentilini 1992, II, p. 400; Id., 2004, p. 18). Benedetto Buglioni was a versatile sculptor of the School of Verrocchio. Initially, around 1490, he worked together with his brother Francesco in Perugia and later with his nephew Santi, who was also a specialist for glazed terracotta sculptures. He created numerous beautiful works that show similarities with works by his contemporary Andrea della Robbia (from whom he, as Vasari puts it, ''stole'' his art) regarding the technique as well as their manner of representation. However, Buglioni's works are more easily accessible, they have a greater stylistic versatility and a greater simplicity, which accommodated the people's piety. Nevertheless, the artist also found recognition with more discerning and accomplished clients, especially at the start of his career. Thus the following works were created: for the Church of Santa Annunziata in Florence (Cristo al Limbo, 1484, no longer in place), for the Cathedral of Pistoia (Resurrezione, Museo Civico, 1490), for Pope Innocent VIII (Stemma papale sorretto da angeli, 1484/1492, Vatican Museums, Rome), Cardinal Giovanni de' Medici (son of Lorenzo ''il Magnifico'', the later Pope Leo X, who charged him with creating various terracotta works for the pilgrimage church of Santa Cristina in Bolsena) or for Leonardo Buonafede, the powerful Spedalingo [Father Superior] of Santa Maria Nuova, who consigned Buglioni with the sculptural decoration of the pilgrimage church of die Santa Maria delle Grazie near Stia in 1500 (Marquand 1921; Gentilini 1992, II, pp. 390-449; Domestici 1988; Eadem, in I della robbia,
1459/ 60 Florence - 1521, attributed PAIR OF ANGELS HOLDING CANDLESTICKS Height: ca. 73 cm each. Florence, ca. 1490/ 1500. A thermoluminescence analysis, issued in Milan on 30 January 2015 is enclosed. We would like to thank Giancarlo Gentilini for this catalogue entry. Terracotta, with white glaze. These two lively, friendly angels are like two eager acolytes. They are wearing wide garments with puffy sleeves decorated with crossed ribbons, but with a stiff collar - typical for the iconography of Florentine art of the late 15th century. In one hand, both angels carry an elegant ''antique'' candlestick, a compound of two goblet shapes decorated with lance-shaped leaves and rhombi, while the other hand humbly rests on their chests. The angel with a head of full, curly hair looks around with large eyes full of joyful wonder and slightly parted lips. In contrast, the other has a mischievous smile under his long magnificent head of hair. It can thus be assumed that the two candle holder sculptures originally framed a joyful image, such as a Nativity. It can further be assumed that this was also a glazed terracotta work (as was consistently common in the Della Robbia workshops), framed by both angels, which would have stood on an altar on the wall. This can be gathered from the cursory finish of the reverse of the sculptures (even if the feathers of the wings are still finely crafted). The sculptures were probably formed directly in clay, without the assistance of a mould, as was otherwise customary for terracotta works at the time. In fact, no other works of this type are known. The surface is glazed entirely in opaque brilliant white. Only the eyes and eyebrows are visualized with traces of manganese. As was often the case with sculptures from the Della Robbia workshops, the precious golden ''white heightening'' that probably emphasized details and decorated wooden or metal nimbi, fell victim to the taste of the time. The childlike grace of these two angels with their expressive faces and dynamic posture is reminiscent of the premium depictions of sculptors such as Verrocchio, Antonio Rossellino and Benedetto da Maiano, though interpreted more naively. The more pleasing facial features and the intentional formal simplification imply Bendetto Buglioni, to whom these two works were already attributed in a detailed paper (Gentilini 1992, II, p. 400; Id., 2004, p. 18). Benedetto Buglioni was a versatile sculptor of the School of Verrocchio. Initially, around 1490, he worked together with his brother Francesco in Perugia and later with his nephew Santi, who was also a specialist for glazed terracotta sculptures. He created numerous beautiful works that show similarities with works by his contemporary Andrea della Robbia (from whom he, as Vasari puts it, ''stole'' his art) regarding the technique as well as their manner of representation. However, Buglioni's works are more easily accessible, they have a greater stylistic versatility and a greater simplicity, which accommodated the people's piety. Nevertheless, the artist also found recognition with more discerning and accomplished clients, especially at the start of his career. Thus the following works were created: for the Church of Santa Annunziata in Florence (Cristo al Limbo, 1484, no longer in place), for the Cathedral of Pistoia (Resurrezione, Museo Civico, 1490), for Pope Innocent VIII (Stemma papale sorretto da angeli, 1484/1492, Vatican Museums, Rome), Cardinal Giovanni de' Medici (son of Lorenzo ''il Magnifico'', the later Pope Leo X, who charged him with creating various terracotta works for the pilgrimage church of Santa Cristina in Bolsena) or for Leonardo Buonafede, the powerful Spedalingo [Father Superior] of Santa Maria Nuova, who consigned Buglioni with the sculptural decoration of the pilgrimage church of die Santa Maria delle Grazie near Stia in 1500 (Marquand 1921; Gentilini 1992, II, pp. 390-449; Domestici 1988; Eadem, in I della robbia,
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