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Della Robbia en Portugal: lujo, fe y tradiciĆ³n
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Abstract(s)
En un paiĢs marcado por la larga duracioĢn del GoĢtico tanto a nivel de gusto y consumo artiĢstico,
como en teĢrminos de formacioĢn cultural e intelectual de los artistas y mecenas, la llegada temprana de
obras de arte italianas marca gradualmente el paisaje portugueĢs desde mediados del siglo XV. Siempre en el entorno de la corona portuguesa, el orden de las piezas de terracota del taller de los Della
Robbia (y tambieĢn de Buglioni) se hace maĢs frecuente. La piedad y el fervor religioso de esa Ć©poca
encuentran respuesta material e iconograĢfica en el brillo de los esmaltes vidriados y en la expresividad
de las esculturas ceraĢmicas. La posesioĢn de estas piezas y su exhibicioĢn son marcas de ostentacioĢn y
de lujo, en un contexto marcado por valores eruditos de la austeridad y sencillez, igual de las clarisas
como de los monjes de San JeroĢnimo.
In a country marked by the long duration of Gothic both in terms of taste and artistic consumption, and also in terms of cultural and intellectual training of artists and patrons, the early arrival of Italian works of art gradually mark the Portuguese landscape from the middle of the 15th century. Still around the Portuguese crown, the order of terracotta pieces to the workshop of the Della Robbia family (and also to Buglioni) became more frequent. Piety and religious fervor have found the answers in the material used and the iconography of works, particularly in the gloss of the glazed enameled terracottas and its expressiveness. The possession of these different pieces and their exhibition are marks of ostentation and luxury, in a context marked by erudite values and the austerity and simplicity of both the Poor Clares or the monks of Saint Jerome.
In a country marked by the long duration of Gothic both in terms of taste and artistic consumption, and also in terms of cultural and intellectual training of artists and patrons, the early arrival of Italian works of art gradually mark the Portuguese landscape from the middle of the 15th century. Still around the Portuguese crown, the order of terracotta pieces to the workshop of the Della Robbia family (and also to Buglioni) became more frequent. Piety and religious fervor have found the answers in the material used and the iconography of works, particularly in the gloss of the glazed enameled terracottas and its expressiveness. The possession of these different pieces and their exhibition are marks of ostentation and luxury, in a context marked by erudite values and the austerity and simplicity of both the Poor Clares or the monks of Saint Jerome.
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Keywords
Renascimento Della Robbia SĆ©culos XV e XVI Portugal Siglos XV-XVI Renacimiento Terracota vidriada y esmaltada Despliegue Lujo 15th/16th centuries Renaissance Glazed and enameled terracottas Display Luxury
Citation
Publisher
Instituto de Estudios Turolenses / FundaciĆ³n QuĆlez Llisterri