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240:). A life-size group of six separate figures stand lamenting in a semicircle around the dead Christ in a lying posture. The dramatic pathos, the expressions of grief and torment of the figures is intensified by the realism of their dramatic facial details. However the date of this innovative contribution to Renaissance sculpture is uncertain. Instead of c. 1460, some date it between 1485 and 1490.
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Niccolò dell’Arca worked on this masterpiece between 1469 and 1473, leaving it unfinished. He probably continued intermittently at it until his death. Art critics see in this masterpiece a blend of influences: Burgundian, Florentine and non-Tuscan (such as details in clothing). The way these
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341:(1478) on the wall of the Palazzo Comunale in Bologna. In the marked drapery folds is seen the influence of Jacopo della Quercia and also traces of the dynamic naturalism of his contemporary
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87:. He is also known under the names Niccolò da Ragusa, Niccolò da Bari, Niccolò dall'Arca, and Niccolò d'Antonio d'Apulia. The surname “dell’Arca” refers to his contribution to the
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Others, rejecting his training in Naples, contend instead that he travelled to France in the late 1460s. According to them, his further training then allegedly took place in
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elements in his sculpture are attributed by some art historians to his presumed participation in the triumphal arch of the
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224:, a “master of terracotta figures”. This probably refers to the “Compianto sul Cristo morto”, terracotta group in the
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Randi, Klebanoff (December 1999). "Sacred magnificence: civic intervention and the arca of San
Domenico in Bologna".
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Some other important works include the terracotta bust of Saint
Dominic (1474) (in the museum of the
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statuettes express their emotions and the patterns in their dresses and hair evoke the style of
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in Madrid) and the terracotta figure of Saint Monica (c. 1478-1480) (Museum Palace in
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on the left side of the altar slab (the one on the right side is by
Michelangelo).
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The place and the year of his birth are not certain. He was probably born in
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Beck, James H. (September 1965). "Niccolo dell'Arca: A Reexamination".
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Compianto sul Cristo morto, Church of Santa Maria della vita, Bologna
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and his workshop (between 1265 and 1267). It had been completed by
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In 1469 he got the commission of an ambitious new addition on the
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with fruit. On the cornice at its base is in the middle a small
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in
Bologna), a marble statue of St. John the Baptist (in the
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in 1539), San
Procolo and San Vitale. Niccolò also added the
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He was mentioned for the first time in
September 1462 in
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337:Also notable is the terracotta high relief of
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79:(c. 1435-1440 – 2 March 1494) was an
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255:had been sculpted two centuries before by
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133:and would be influenced by his style).
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236:(also mentioned in a Bull of 1464 by
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275:and four dolphins, all covered with
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460:Pope-Hennessy, J. (1958).
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464:. London.
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295:in 1494),
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386:, Bologna
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328:Escorial
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441:. Rome.
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