Jacopo della Quercia

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Quercia, Jacopo della

Quercia, Jacopo della (yäˈkōpō dĕlˈlä kwĕrˈchä), c.1374–1438, Italian sculptor. His work shows the transition from medieval to Renaissance art. He is especially noted for his imposing allegorical figures for the Gaia Fountain in Siena. About 1425 he began to decorate the main portal of San Petronio, Bologna, with scenes from Genesis and the life of Jesus. His grandeur of conception and vigorous modeling formed one of the sources of inspiration for Michelangelo.


See study by C. Seymour, Jr. (1973).

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Quercia, Jacopo Della


Born circa 1374 in Siena; died there Oct. 20, 1438. Italian sculptor. Representative of the Early Renaissance.

In 1401, Quercia took part in the competition for executing reliefs on the northern doors of the Baptistery in Florence. He was active in Siena and Bologna; he also worked in Lucca in 1406 and Ferrara in 1408.

Quercia was influenced by the tradition of Nicola and Giovanni Pisano and by northern Italian sculpture of the turn of the 15th century. The influence of the French Gothic is seen in many of his works, such as the tomb of Ilaria del Carretto in the cathedral of Lucca (1406) and the Trenta Altar in the San Frediano Church in Lucca (1416–22). To a large extent he went beyond the Late Gothic in such later works as the austere and heroic reliefs on the portal of the San Petronio Church in Bologna (Istrian stone, 1425–38).

The dramatic and monumental qualities embodied in the powerful, laconic figures of Quercia’s best works exerted a considerable influence on Michelangelo.


Libman, M. lakopo della Kvercha. Moscow, 1960.
Seymour, C. Jacopo della Quercia, Sculptor. New Haven-London, 1973.
Jacopo della Quercia nell’arte del suo tempo (exhibit catalog). Florence, 1975.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
It includes a number of masterpieces: Michelangelo's Slaves, Jacopo Della Quercia's Virgin, and work by Donatello, Cellini, Bernini and Canova.
Richard has not carried conviction with historians, but his sarcophagus is still to be seen in the church, and early in the fifteenth century he was depicted on an altarpiece commissioned by one of the leading families of the city, the Trenta, from one of the leading sculptors of the day, the Sienese Jacopo della Quercia. He had, however, long since been superseded in popular appeal by the serving-woman Zita, a parishioner of San Frediano, who died in 1273 and was buried in the church.
The pulpits are viewed as having provided models and inspiration for Donatello and Jacopo della Quercia, and for Michelangelo at various points in his career.
The definition of Sienese monuments as those by Sienese sculptors allows the inclusion of Jacopo della Quercia's Ilaria del Carretto Monument in Lucca as well as several other less famous monuments in Rome and in the Sienese territories.
(13) Michelangelo's clear inspiration for his own Creation of Eve was the Jacopo della Quercia relief sculpture of the birth of Eve in the Basilica of S.