Cantoria (panel)
Luca della Robbia
Cantoria (panel)
Luca della Robbia (Italian, Early Renaissance, 1400–1482): (panel) Cantoria ("Singing Gallery"), 1431-1438. Marble. Museo dell'Opera del Duomo, Florence, Italy.



October 25, 2014 - January 11, 2015:

‘Make a Joyful Noise’: Renaissance Art and Music From Florence Cathedral

High Museum of Art, Atlanta, Georgia



For the first time, three marble "Cantoria" panels will travel to the U.S. — first stop, Atlanta!



'The High will work with the Atlanta Symphony Orchestra to present a series of organ and choral performances around Atlanta and within the galleries of the exhibition. Also included in the exhibition will be recorded music from the pages of the featured choir books. The exhibition, therefore, marks the first time since the 17th century that Luca’s Cantoria will be displayed in a way that allows for it to be immersed in sound, as it was originally intended to be.

“By reuniting Luca della Robbia’s panels with the musical environment for which they were created, we are developing an exhibition that needs to be heard as well as seen," said Gary Radke, guest curator for the exhibition and dean’s professor of the humanities at Syracuse University.' (artdaily.com)

Read more: http://bitly.com/KwHviT



‘The original "Cantoria" is housed today in Florence's Museo dell' Opera del Duomo (having been removed from the Cathedral in 1688 to accommodate renovations for the wedding of Ferdinando di Medici). It contains the carved text in Latin of Psalm 150, which provided the original inspiration for the work.’ (http://www.sculpturegallery.com)



Of Interest: http://www.sculpturegallery.com/sculpture/cantoria_panels_one_to_ten.html



"Luca della Robbia founded the family sculpture workshop in Florence and was regarded by contemporaries as a leading artistic innovator, comparable to Donatello and Masaccio. He is credited with the invention of the tin-glazed terracotta sculpture for which the family became well known. His nephew Andrea della Robbia, who inherited the workshop, tended to use more complex compositions and polychrome glazing rather than the simple blue-and-white schemes favoured by his uncle." (www.wga.hu)