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However, what is most striking about the whole is the immediate sincerity of the narrative and its unfolding according to a pleasantly populist taste, even though
Buglioni conducts the modelling of the figures, the faces themselves (e.g. the profile of the pilgrim being washed by a guest) with great care and careful finesse. And the author looks at details, be they a fur coat or a long beard, with a delicate attention that is indeed rarely found in Giovanni della Robbia's work. Some figures almost suggest in Santi Buglioni an inspiration to
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357:, first Vicerè of Naples, for his Palazzo di Pozzuoli. These were probably busts, or perhaps clypeus, made glazed terracotta, in the style of those already done by della Robbia for the royal villa of Poggioreale in Naples at the end of the 15th century. Staggered between 15 April and 28 September 1542, are three payments to Buglioni and Lorenzo Marignolli, both sculptors in the service of Cosimo dei Medici.
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are true costume scenes, executed with graceful simplicity. Undoubtedly there are imperfections, particularly in the arrangement of the figures, and a certain clumsiness of movement, perhaps due to the necessity of firing the terracottas in detached pieces to join them later, arranging them in place.
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had provided a series of chiaroscuros in the guise of bronze reliefs. The work represented the culmination of the effimere settings created for the occasion, both for the subject, which celebrated the duke's popular father, and for the value aesthetic, later remembered by
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received an order for medallions and figures, but in 1526-28 the payments refer to
Buglioni. Only in 1585 was the frieze completed, probably by Filippo di Lorenzo Paladini, with the scene Dar da bere agli thirstati, in painted stucco.
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The patronage of the Medici family enhanced the prestige of glazed terracotta, and the medium was also prized by guilds and religious institutions for its beauty, legibility, and durability.
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Evidence for
Buglioni’s authorship of the glazed terra-cotta tympanum at the Chiostro dello Scalzo, Florence”, in The History of Art, vol. 29, no. 2, 2010, pp. 15–20
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Santi
Buglioni was the artist responsible for the execution of a Medici-Toledo coat of arms in terracotta for the inner guest quarters of the La Verna Convent.
205:; however, it is clear from the payment documents that Santi Buglioni was the main executor. Benedetto had worked for the hospital (1510, 1515), and in 1525
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433:. His wife Francesca di Dionigi di Simone, nine years younger, was his companion for nearly forty years. She died in 1566. His great-grandson was
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the glazed terracotta decorations for the most important palaces at the time. Buglioni created the floor of the reading room of the
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Undoubtedly his most remarkable and famous work, which far exceeds in importance all his remaining activity, is the frieze with the
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119:(25 December 1494 - 27 November 1576) was an important Renaissance Italian sculptor, the nephew and collaborator of
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He was born on
December 25, 1494 and his mother Francesca Mori was a near relative of Lisabetta Mori, the wife of
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325:, Santi Buglioni assisted Niccolo il Tribolo in constructing a temporary equestrian statue of Cosimo's father,
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forms, without however that baroque brio and whimsy that give so much languid poetry to
Filippino's works.
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169:(1522). After the death of Benedetto Buglioni the young Santi began a career of more ambitious works.
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He also participated in the decorations for
Michelangelo's funeral with a portrait of the artist
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the and for the Pitti Palace
Grottoes. In 1560 Santi Buglioni received the payment, designed by
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Buglioni, who had become blind in his late years, died in 1576 and was buried in the church of
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Nouveaux documents sur Luca Della Robbia le Jeune, Giovanni Della Robbia et Santi
Buglioni
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the glazed terracotta pavements for the most important palaces at the thime: the
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https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900293106
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Les Della Robbia. Sculptures en terre cuite de la
Renaissance Italienne
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as the most beautiful artwork created for those wedding celebrations.
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This article incorporates text from this source, which is in the
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For the celebration of the triumphal wedding of the Grand Duke
165:(1521) and as an independent artist in the altarpiece of the
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Le Vite de' PiĂą Eccellenti Pittori Scultori et Architettori
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Della Robbia, Sculpting with color in Renaissance Florence
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I Della Robbia, La Scultura inventariata nel Rinascimento
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I Della Robbia e l'arte nuova della scultura invetriata
437:, a celebrated mathematician, pupil and biographer of
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In his early works he was the assistant and pupil of
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Santi Buglioni e le botteghe rivali dei della Robbia
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360:Between 1549 to 1560, under the commission of
249:, Florence, Museo Davanzati, from the Bargello
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345:ordered from Santi di Michele Buglioni by
189:Santi Buglioni, Pistoia, Spedale del Ceppo
181:Santi Buglioni, Pistoia, Spedale del Ceppo
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341:In 1542, The Medici Archives record that
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580:Page at The Metropolitan Museum of Art}
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270:Works by to Santi Buglioni include the
534:, exh. cat. Fiesole, 1998, pp. 349-351
310:Commissions for the Medici in Florence
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561:, exh. cat. Boston, 2016, pp. 17-20
548:, in La sculpture en Occident, 2007
541:, Paris, 2002, cat. V3, pp. 112-113
414:and for the Pitti Palace Grottoes.
520:, in Faenza, XXII, 1934, pp. 135ss
261:, Los Angeles County Museum of Art
142:had moved to France to escape the
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286:and the façade decoration of the
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173:The monumental frieze in Pistoia
274:in the Saint Francis Museum of
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608:16th-century Italian sculptors
572:Page at Chianti Museum website
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467:. Princeton University Press.
392:: putti, capricorns, heads.
511:Benedetto and Santi Buglioni
464:Benedetto and Santi Buglioni
388:and Joan of Austria for the
380:, for flat of pope Leo X in
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410:,for various rooms in the
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349:, wife of the Grand Duke
327:Giovanni delle Bande Nere
296:Giovanni dalle Bande Nere
150:techniques. According to
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537:J. Gaborit, M. Bormand,
461:Marquand, Allan (1921).
167:Annunciation and Saints
613:Italian male sculptors
527:, Milano, 1992, vol. 2
408:Biblioteca Laurenziana
370:Biblioteca Laurenziana
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207:Giovanni della Robbia
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163:Madonna della Cintola
427:Santa Maria Maggiore
386:Francesco de' Medici
304:Abbey of Vallombrosa
400:Cosimo I de' Medici
362:Cosimo I de' Medici
351:Cosimo I de' Medici
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347:Eleonora di Toledo
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288:Ospedale del Ceppo
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159:Benedetto Buglioni
134:The early artworks
128:Benedetto Buglioni
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513:, Princeton, 1921
140:Luca della Robbia
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257:Santi Buglioni,
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117:Santi di Michele
105:High Renaissance
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421:Last years
272:Deposition
95:Sculptures
551:D. Dow,
431:Florence
404:Florence
366:Florence
331:Bronzino
284:Bargello
101:Movement
77:Florence
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292:Pistoia
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