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Annunciation Terra Cotta

The art piece that I chose to do my research on is the Annunciation Terra Cotta by Andrea Della Robbia. The art piece was gifted to The Catholic University of America in 1960. Found in the President’s Conference Room in Nugent Hall, the location of this piece further reflects both its rare nature and its inherent value to the University. Moreover, this artwork is extremely valuable to Catholic University, mainly due to the fact that a Terra Cotta piece from the Robbia family is very difficult to find in the United States, as most of them are only found in Florence, Italy. In turn, its placement in the President’s meeting room, sitting on a wall at the end of the main conference table for all visitors to see, serves to emphasize the importance of the artwork to the school as a whole. The humble Annunciation Terra Cotta piece grows increasingly complex under closer observation, with subtle alterations in color and very intricate details. At first glance, for example, the piece can primarily be described as a set of white figurines with a blue background. On closer observation, however, smaller design elements and color pops reveal themselves, including some pale pink flowers with green stems.


The date of execution for this piece, according to the archive’s files, occurred sometime within the late 15th century. While the Terra Cotta does have some noticeable indicators of physical deterioration, they actually add to the beauty and essence of the piece by providing a window into the Early Renaissance era from which it came. The artist of this Terra Cotta, Andrea di Marco di Simone Della Robbia, lived the duration of his life in Florence, Italy from his birth in 1435 until his death in 1525. For the majority of his career, Andrea was a sculptor, and eventually took over the workshop of his uncle, Luca Della Robbia, after his death in 1482. A renowned sculptor himself, Luca Della Robbia acted as Andrea’s primary teacher and mentor, with many of his works even showing signs of Andrea’s direct influence. Modern research portrays Andrea as a more introverted and conservative personality type, which he visibly expressed in many of his glazed Terra Cotta works, namely through their elegant designs and soft, muted colors. Additionally, many regarded Robbia as a narrative sculptor, with each of his pieces telling a unique story to its spectators. Created during the early stages of his career in 1463, Andrea’s best-known piece to date is the Infant in Swaddling Clothes, a set of 10 Terra Cotta sculptures found in Inconnetic, Florence.

As one of the most respected sculptors of his time, most of his original works can only be seen in Italy’s most elegant cathedrals and in prestigious museums around the world. While having background knowledge of Robbia’s career and artistic tendencies is important in appreciating his work, one must examine the specific provenance history of his Annunciation Terra Cotta piece in order to fully understand the significance of its presence at Catholic University.[1]


The Annunciation Terra Cotta piece was donated to the University by Arthur T. Roth in New York City during the 1960s. Arthur T. Roth was a prominent American banker who created the eighteenth largest bank in America, the Franklin National Bank. While there is little information

as to how he obtained the piece himself, we can assume that Arthur T. Roth was a religious man with a great appreciation for Renaissance sculptures. Like most of Andrea Della Robbia’s works, the Terra Cotta in Nugent Hall has deeply religious roots, as it depicts the Virgin Mary kneeling with an angel in front of her. The sculpture shows the angel Gabriel announcing to the Virgin Mary that she will be pregnant with Jesus, honoring the events of the Annunciation after which it is named.

While we are largely uncertain of how Author T. Roth obtained the sculpture himself, the source of the artwork was likely a religious institution or art museum. Building upon this notion, Author T. Roth was actually a trustee emeritus of the Museums at Stony Brook, meaning that he could have very easily obtained the work from this institution as well. The fact that a piece so rare has barely any traceable history before arriving at Catholic University is very peculiar. It is clear that Arthur T. Roth entrusted Catholic University to protect and honor this artistic treasure. Moreover, one can speculate that Roth understood the religious significance and implications of the piece and felt that it would be best served in a prestigious Catholic institution such as that of our University. Without the proper documentation, however, the actual history of the object’s possession preceding Author T. Roth will largely remain a mystery. However, as the sculpture originated in 15th century Florence, Italy, one can conclude it was traded throughout Italy and eventually reached the Americas through trade and commerce throughout the centuries since its formation.[2]


Since Andrea Della Robbia is an Early Renaissance era Florentine sculptor, it is important to look at the history of Renaissance art in Italy in order to understand how this Terra Cotta piece represents the artistic themes of the era. Florence is known as the home of modern art, taking the lead by the thirteenth century with the birth of sculptural art in the Renaissance era. During this time, Florence was rich in talented painters and sculptors alike.[3] The church was the main employment for sculptors during the Renaissance. The sculptures in Florence decorated the streets, buildings, and churches and gave the city a soft and beautiful look. There was a universal love for art among the citizens of Florence, and most of the art pieces of the time were based on religion. Florentine sculpture art like the works of Luca and Andrea Della Robbia were often decorated with minimalistic colors, with Andrea using mostly white for his Terra Cotta works. Terra cotta is also known as “cooked earth” and is made from sculpting clay and then hardening the clay in a high temperature kiln. Terra cotta was invented in ancient times and was considered the oldest form of art sculptures during the Renaissance era. The pale blue and white of his Terra Cottas perfectly encapsulate the energy and essence of Florence, Italy during this time period. The Robbias’ works are immersed on the streets of Florence architecture and cannot be moved from the buildings, making their name and legacies an eternal part of Florence history. Terra Cotta sculptures are a popular form that Italian renaissance artists used and are some of the most expensive and enchanting pieces in art history. [4]



To compare Andrea Della Robbia’s work to anyone else's, it would have to be to the works of his uncle Luca, who was the creator of the tin glazing technique that Andrea used in his Terra Cottas. In the fifteenth century, the Terra Cotta glazing technique was exclusively practiced in the Della Robbia family, but soon spread into the works of many other Italian artists, such as Benedetto Buglioni and his family of the late fifteen century. Most of the Della Robbia’s art pieces were sculptures depicting Madonna and child, occasionally showing them with angels. In modern literature about the Italian Renaissance, writings have ultimately neglected the Terra Cottas, rarely discussing the beauty of these pieces.


The primary material used in Terra Cottas was clay, which served as a material that was easy to mold, add specific details on and make changes to. In ancient texts, Terra Cotta was referred to as “more worthy of honor than gold” which reflects the idea of how its credibility has been lost over the years, as painters in the Renaissance viewed it as a cheaper art form. Terra Cotta clay was also viewed as virtuously moral and was known to have shown qualities of humbleness and modesty. Additionally, in a religious sense, it was often compared to how God first used clay to create man. This perspective on the Terra Cotta perfectly describes Italian Renaissance art by reflecting its deep appreciation of the Catholic tradition. It is important to note the use of clay because it relates back to the Renaissance era as a whole. Clay was used as “humble” art when making religious sculptures or paintings. The materials used were based on the trends in artistry during that time period. The use of clay was regarded as a virtuous resource when creating sculptures depicting religious figures, further lending honor and reverence to his depictions of the Virgin Mary and the Angel Gabriel in his Annunciation piece.


There are three generations of Rubbia family members: Luca, Andrea, and Giovanni. Their art is similar, but there are several notable distinctions among their various styles and techniques. For example, Luca and Giovanni both used a pinkish glaze for the skin tones of their Terra Cottas, while Andrea used pale whites to portray skin tones in his pieces. Another interesting difference among the three was their depiction of the human eye, as Andrea used brown eye color primarily, Luca utilized blue eyes, and Giovanni often used black colored eyes. The family was all very talented, passing down their knowledge, skills, and techniques from generation to generation in the Della Robbia workshop.


Andrea Della Robbia employed a different style than his other family members, evident through the unique sensitivity shown in his sculptures. In the images at the bottom of the page, the slight but distinctiveness in the skin tones and eye colors used by Luca and Andrea are explicitly evident in their respective portraits of a child. Luca uses a pale, pinkish color to create the boy’s skin tone while Andrea uses a more porcelain white color for the skin. The last noticeable difference between the two artists’ styles can be seen in the overall emotions conveyed within the two sculptures, with Luca’s expressing a more vibrant and jubilant feel and Andrea’s expressing feelings of subtlety and timidness. In the example below, one can clearly see the similarities in the two sculptures as well as the stylistic differences between the two artists.[5]



Next, we can discuss the reason that the Terra Cotta in Nugent Hall perfectly encapsulates the Renaissance essence of Italy from which it came. The figural use of clay in the Terra Cottas by Andrea and Luca Della Robbia, as well as the symbols and themes expressed within these sculptures, both reflect the overarching style and essence of the Renaissance era of art. There was also a view that using clay in Terra Cottas that were made for devotional purposes was ideal, as it was the common belief that portrayals of holy figures should be made of simple, inexpensive materials. These ideals and figural uses for clay in sculptures slowly faded in the sixteenth century, as the use of more humble materials was no longer held with a high regard among artists of the time. This simple art style of the Renaissance directly correlates with the social framework of the time period, much like the tendency for different social classes to dress differently from one another. Glazing the Terra Cotta clay and putting it in the kiln transforms the humble material into a shiny, colorful, and beautiful piece of art. Furthermore, the Della Robbia family’s sculptures emulate the ideals of the Renaissance art era, as they all encapsulate the ideals and traditions of Catholicism that deeply permeated most of the artworks of this time. By using modest and humble materials to portray the Virgin Mary and the Angel Gabriel, Andrea Della Robbia displays a theological thirst for divine light and a commitment to Renaissance ideals in his Annunciation Terra Cotta.


In conclusion, the Annunciation Terra Cotta by Andrea Della Robbia serves as one of Catholic University’s most precious and valuable artworks and can be deeper understood and appreciated through analyzing the Renaissance environment in which it was created as well as the esteemed artistic legacy of the Robbia family. While we can appreciate the essence of its origin, the provenance history of the piece remains unknown for the most part. While it is known that the art piece was gifted to Catholic University in 1960 by American banker Arthur T. Roth, there is no further documentation revealing the sculpture’s prior chain of ownership. Considering the history of Andrea Della Robbia as well as general knowledge of the Italian Renaissance era, one can speculate that the piece most likely was housed in a Cathedral or Catholic Institution near the Florence area. By looking at the family’s history, it is evident that the Della Robbia’s kept their artistry and skill within their family, passing it down by generation. While these core skills and techniques were passed down through generations, each Della Robbia artist exhibits different stylistic and coloring techniques that make each of their artworks unique and reflective of their respective personalities. We have also learned how the materials used in the Terra Cottas, along with their figural and cultural features, directly reflect the values and ideals of the artistic world of the Early Renaissance.


By: Cristy Acosta


Works Cited:

[1] “Della Robbia, Andrea.” Encyclopædia Britannica Online. Encyclopædia Britannica Inc, 2020. [2] Ross, Walter S. “Arthur T Roth.” Long Island business news, no. 39 (1997): 14–. [3] Bode, Wilhelm von. Florentine Sculptors of the Renaissance, by Wilhelm Bode; with 94 Plates. England: Methuen and co. [1908?], 1908. [4] Miller, Stephanie R. “A Material Distinction: Fifteenth-Century Tin-Glazed Terracotta Portraits in Italy.” The sculpture journal 22, no. 1 (2013): 7–20. [5] Miller, Stephanie R. “A Material Distinction: Fifteenth-Century Tin-Glazed Terracotta Portraits in Italy.” The sculpture journal 22, no. 1 (2013): 7–20.

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