id:			119458
accession number:	1940.343
share license status:	CC0
url:			https://clevelandart.org/art/1940.343
updated:		2023-01-10 21:18:09.210000

Dovizia (Plenty), c. 1520–1529. Giovanni della Robbia (Italian, 1469–1529/30). Glazed terracotta; overall: 110.2 cm (43 3/8 in.). The Cleveland Museum of Art, Gift of S. Livingstone Mather, Constance Mather Bishop, Philip R. Mather, Katherine Hoyt Cross, and Katherine Mather McLean in accordance with the wishes of Samuel Mather 1940.343

title:				Dovizia (Plenty)
title in original language:	
series:				
series in original language:	
creation date:			c. 1520–1529
creation date earliest:		1520
creation date latest:		1529
current location:		118 Italian Renaissance
creditline:			Gift of S. Livingstone Mather, Constance Mather Bishop, Philip R. Mather, Katherine Hoyt Cross, and Katherine Mather McLean in accordance with the wishes of Samuel Mather
copyright:			

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culture:	Italy, Florence, 16th century
technique:	glazed terracotta
department:	European Painting and Sculpture
collection:	Sculpture
type:		Sculpture
find spot:	
catalogue raisonne: 

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CREATORS

* Giovanni della Robbia (Italian, 1469–1529/30)  - artist

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measurements: Overall: 110.2 cm (43 3/8 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		Florence and the Arts: Five Centuries of Patronage
	opening date:   1971-10-29T04:00:00
	<i>Florence and the Arts: Five Centuries of Patronage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29, 1971-January 2, 1972).

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LEGACY EXHIBITIONS

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PROVENANCE

	Samuel Mather, Cleveland, Ohio.
	date: 
	footnotes: 	
	citations: 	


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fun fact:


digital description:


wall description:
Many elite Florentine Renaissance homes had sculptures of idealized young women carrying nature’s bounty, such as this work. The motif stems from a statue by Donatello (about 1386-1466) that towered over Florence’s main public market. At home, however, the sculpture became a talisman for the family’s well-being. Worry about the low birth rate was a serious political matter in Florence, so the sculpture would have stimulated fertility and promoted motherhood, but it also promoted financial success.
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RELATED WORKS

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CITATIONS

	The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.
	page number: 	Reproduced: p. 91
	url:		https://archive.org/details/CMAHandbook1966/page/n115

	The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.
	page number: 	Reproduced: p. 91
	url:		https://archive.org/details/CMAHandbook1969/page/n115

	The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.
	page number: 	Reproduced: p. 106
	url:		https://archive.org/details/CMAHandbook1978/page/n126

	Cleveland Museum of Art, and Jenifer Neils. T<em>he World of Ceramics: Masterpieces from the Cleveland Museum of Art.</em> Cleveland: The Museum in cooperation with Indiana University Press, 1982.
	page number: 	Mentioned and reproduced: p. 44, fig. 46
	url:		

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1940.343/1940.343_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1940.343/1940.343_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1940.343/1940.343_full.tif