DOI Heft:
No. 91 (Oct., 1900)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19786#0080
Studio- Talk
end they may have, can be of much use in pro-
moting art. What artist, who respects himself, can
positively undertake to be inspired by a given date?
Or to paint with an eye to what is best for photo-
graphic reproduction ? Such things are distinctly
contradictions in terms. I. M. A.
SIENA.—Outside the walls, and but a short
drive from Siena, lies the suppressed
Franciscan Monastery of l'Osservanza
(1423), and in the north aisle of the
church is still to be found a perfect specimen of
Andrea della Robbia's work. In olden days each
altar in the building possessed a similar treasure,
but the owners of the little chapels preferring
painted pictures to the quaint groups in enamelled
pottery, all but one were broken up. The monks
are well aware of the value of this Coronation oj
the Virgin, and have refused to sell or part with it,
although they have had an offer of an exact copy
of the original and twelve thousand five hundred
pounds down in gold for it. Marcel Raymond
PORTRAIT STUDY FROM AN ETCHING
OF CLAUS GROTH BY HANS OLDE
(Sec Kiel Studio-Talk)
PORTRAIT OK FROM AN ETCHING
FRIEDRICH NIETZSCHE BY HANS OLDE
(See Kiel Studio- Talk)
has thrown much light upon the Della Robbia
family in his recently published and most able
work; and Yriarte, in his splendid book on
Florence, tells us how Luca della Robbia founded
a school devoted to art, and proved himself to be a
sculptor of great ability. He was the first to apply
the process of enamelled pottery to decoration in
Italy, " a process known long before his day by the
Egyptians, the Assyrians, the Arabs, the Persians,
the Moors, and the Greeks. It cannot have been
unknown to the Italians in the thirteenth century,
for there is in existence a treatise entitled 1 Maravita
Preciosa,' dating from 1330, which is full of de-
tails on the subject, and of various specimens of
earlier works." With Luca worked his brother
Andrea and his four sons, Giovanni, Girolamo,
Luca, and Ambrogio. At first he used a pure
white enamel, which covered the surface of his
baked potteries with a transparent coat of protect-
ing varnish ; afterwards he used blue shades for
backgrounds, and light green shades for the soil,
the plants, and the other accessories. The finest
specimens of Luca della Robbia's work are in the
South Kensington Museum, the Louvre, and at
Berlin.
J. E. C.
63
end they may have, can be of much use in pro-
moting art. What artist, who respects himself, can
positively undertake to be inspired by a given date?
Or to paint with an eye to what is best for photo-
graphic reproduction ? Such things are distinctly
contradictions in terms. I. M. A.
SIENA.—Outside the walls, and but a short
drive from Siena, lies the suppressed
Franciscan Monastery of l'Osservanza
(1423), and in the north aisle of the
church is still to be found a perfect specimen of
Andrea della Robbia's work. In olden days each
altar in the building possessed a similar treasure,
but the owners of the little chapels preferring
painted pictures to the quaint groups in enamelled
pottery, all but one were broken up. The monks
are well aware of the value of this Coronation oj
the Virgin, and have refused to sell or part with it,
although they have had an offer of an exact copy
of the original and twelve thousand five hundred
pounds down in gold for it. Marcel Raymond
PORTRAIT STUDY FROM AN ETCHING
OF CLAUS GROTH BY HANS OLDE
(Sec Kiel Studio-Talk)
PORTRAIT OK FROM AN ETCHING
FRIEDRICH NIETZSCHE BY HANS OLDE
(See Kiel Studio- Talk)
has thrown much light upon the Della Robbia
family in his recently published and most able
work; and Yriarte, in his splendid book on
Florence, tells us how Luca della Robbia founded
a school devoted to art, and proved himself to be a
sculptor of great ability. He was the first to apply
the process of enamelled pottery to decoration in
Italy, " a process known long before his day by the
Egyptians, the Assyrians, the Arabs, the Persians,
the Moors, and the Greeks. It cannot have been
unknown to the Italians in the thirteenth century,
for there is in existence a treatise entitled 1 Maravita
Preciosa,' dating from 1330, which is full of de-
tails on the subject, and of various specimens of
earlier works." With Luca worked his brother
Andrea and his four sons, Giovanni, Girolamo,
Luca, and Ambrogio. At first he used a pure
white enamel, which covered the surface of his
baked potteries with a transparent coat of protect-
ing varnish ; afterwards he used blue shades for
backgrounds, and light green shades for the soil,
the plants, and the other accessories. The finest
specimens of Luca della Robbia's work are in the
South Kensington Museum, the Louvre, and at
Berlin.
J. E. C.
63