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Andrea Riccio

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Virgin and Child c. 1520–25 Terracotta with traces of polychromy The J. Paul Getty Museum, Los Angeles Cat. No. 35

The terracotta Virgin and Child was once a full-length, polychromed statue. Then as now, the Virgin’s gaze and the Child’s gestures project beyond the sculpture’s setting to engage the viewer. Riccio characteristically rendered these Christian subjects in a classicizing idiom. The ageless Virgin wears the elaborate coiffure and diadem of a Roman goddess, and the Christ Child wears the draped robes of an ancient philosopher. Riccio vividly articulates every detail, from the voluminous folds of the Virgin’s drapery to the minute ring pattern on her headband. Brilliant modeling in large and small scale made Riccio a celebrated master of both terracotta and bronze.

Head of the Madonna 1520–25 Polychrome terracotta Musei Civici, Museo d’Arte Medioevale e Moderna, Padua Cat. No. 34

This beautiful head is all that remains of a full-scale sculpture of the Madonna and Child, once in the parish church of Legnaro. The Madonna’s skin, lips, and hair retain traces of original polychromy. Riccio’s modeling process is superbly displayed. On the back, he cursorily defines the forms, like the Madonna’s bun, clumping the clay with his hand and then coarsely outlining the locks of hair. On the front, smaller but similarly curt strokes refine the broad forms. He carves out grooves leaving in relief foliate swags, ribbed shells, and an eyelet tiara. Riccio, master modeler, employed the identical swift and assured touch when designing in wax for his bronzes. Return to first page of checklist >>>

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