Sculptuur van Madonna met kind uit terracotta naar Luca della Robbia in het Camposanto te Pisa, Italië 1860 - 1881

Editor: This photograph from between 1860 and 1881 by Giacomo Brogi captures a terracotta sculpture of the Madonna and Child after Luca della Robbia, located in the Camposanto in Pisa. The whole scene, with its array of cherubic faces, seems filled with a sense of gentle serenity. How do you interpret this work, especially considering it’s a photograph of a sculpture? Curator: The image vibrates with echoes. The Madonna and Child is not simply an image, but an archetype, a deeply embedded representation of maternal love and divinity. Consider the circle of cherubs; circular imagery suggests the eternal, a concept Della Robbia explored to emphasize the unending nature of faith. Even as a photographic reproduction, this composition preserves cultural memory, carrying the symbolic weight across time. What does the Renaissance, and the enduring appeal of the Madonna figure, evoke for you? Editor: It brings to mind ideas of rebirth and humanism, and a shift towards a more approachable religious art, though still very much rooted in faith. Is that why Della Robbia chose terracotta? Curator: Precisely. Terracotta offered a more accessible and human medium, compared to the preciousness of gold or ivory. It’s grounded, earthy – resonating with everyday experience, and thus more relatable. Even now, through Brogi's lens, this photograph reminds us of art's capacity to collapse time, isn't it? Editor: It really is! It's fascinating to consider how a photograph can become another layer of interpretation for a sculpture already rich in symbolism and history. Thanks for shedding light on those aspects! Curator: My pleasure! It’s always rewarding to see how these symbols continue to speak to us, across the centuries and mediums.