Francesco Xanto Avelli

Avelli, Francesco Xanto
da Rovigo, Fracesco Xanto Avelli
Rovigo da Urbino
Xanto, fra

Italian (Rovigo), active in Urbino, c. 1486/1487 - after 1542

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This painting depicts a mythological scene with three central figures. One figure in a blue robe holds a sword, another figure in an orange garment appears distressed, and a third angelic figure with wings stands beside a tree. The background shows a lush landscape with architectural elements against a serene sky. The use of vibrant colors and intricate detailing creates a lively scene. This artwork is in the style of Renaissance majolica pottery.
Francesco Xanto Avelli, Plate with Pyramus and Thisbe, 1536, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection, 1926), 2015.19.4013

Plate with Pyramus and Thisbe

Francesco Xanto Avelli · 1536 · tin-glazed earthenware (maiolica) ·  Accession ID  2015.19.4013

This is a painting on a circular plate depicting a battle scene. Warriors clad in medieval armor and helmets engage in combat. The scene includes figures in action poses with swords and shields. In the background, a fortified city with flames and smoke rising from its towers suggests a siege or invasion. Bright colors and detailed ornamentation enhance the drama of the scene. This is in the style of an Italian Renaissance artist like Francesco Xanto Avelli, known for detailed maiolica ceramics depicting historical and mythological scenes.
Francesco Xanto Avelli, Charger with the Battle of Roncevaux, 1533, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection, 1926), 2014.136.323

Charger with the Battle of Roncevaux

Francesco Xanto Avelli · 1533 · tin-glazed earthenware (maiolica) ·  Accession ID  2014.136.323

The image shows a round decorative plate with a mythological scene. It features an aerial view of a landscape with a fort-like structure, greenery, water, and ships with one flag reading "SELEUCO." The style is reminiscent of Renaissance painting, with intricate brushstrokes capturing figures and scenery. The color palette includes blues, greens, and earth tones with accents of orange and yellow. Muscular figures are engaged in activity, and an emblem or coat of arms is displayed above against a richly toned sky with clouds.
Francesco Xanto Avelli, Plate with the sinking of the fleet of Seleucus (from the Pucci Service), 1532, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection, 1926), 2015.19.4014

Plate with the sinking of the fleet of Seleucus (from the Pucci Service)

Francesco Xanto Avelli · 1532 · tin-glazed earthenware (maiolica) ·  Accession ID  2015.19.4014

This is a painting of a scene with classical figures and architecture on a ceramic plate. The central focus is a pedestal with two statuesque figures, surrounded by multiple human figures engaged in various activities. The background shows architectural structures against a colorful sky. The figures and elements are rendered in a rich color palette with an emphasis on blues, greens, and golden hues, creating a sense of drama and movement typical of Renaissance art. This is in the style of Renaissance Italian maiolica, depicting historical and mythological scenes with intricate detail and vibrant colors.
Francesco Xanto Avelli, Charger with the Massacre of the Innocents, c. 1527/1530, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection, 1926), 2014.136.322

Charger with the Massacre of the Innocents

Francesco Xanto Avelli · c. 1527/1530 · tin-glazed earthenware (maiolica) ·  Accession ID  2014.136.322

Francesco Xanto Avelli, Italian 16th Century, Shallow bowl on low foot with the death of Laocoön and his two sons, 1539, tin-glazed earthenware (maiolica), Widener Collection, 1942.9.338

Shallow bowl on low foot with the death of Laocoön and his two sons

Francesco Xanto Avelli, Italian 16th Century · 1539 · tin-glazed earthenware (maiolica) ·  Accession ID  1942.9.338

This circular plate is painted with an almost cartoon-like scene showing four people with pale skin around a stream, near the exterior of a tower. At the top of the plate, a nude woman is shown from the thighs up as she falls horizontally from an open window at the top of the tower. Her back, buttocks, and a single breast are exposed to us while a deep red and blue fabric wraps over her far shoulder and around her thighs. Her hands clasp as she reaches her arms forward, and her copper-red hair flies behind her. Her mouth is wide open. Directly below her, at the bottom center of the plate, a man partially wrapped in ruby-red drapery lies on his back in the stream. One arm is flung over his head and the other hangs across his body. He has black hair, and his eyes are closed. On the right side of the plate, a second man stands on the bank of the stream with his body facing us, as he turns his face to our left in profile. He has curly, brown hair, and the eyebrow we can see is furrowed. He wears a knee-length red tunic, and he raises both arms high overhead. Finally, the fourth winged, child-like person stands on the opposite bank, to our left. He is nude except for a quiver of arrows slung across his chest. His babyish body is chubby with small wings between his shoulder blades. He faces the center of the scene and looks up at the falling woman while raising a long torch toward her. The tower is made of parchment-white stones outlined with mustard yellow and black. A shield or coat of arms hangs or hovers just above the center of the plate. It has a rounded top and pointed bottom, and has six gold, tree-like forms against a navy-blue background, all within a scrolling, red frame. The stream winds into the distance between buildings along the banks. Cobalt-blue and sepia-brown mountains line the horizon, and a light brown sun with linear rays sets behind them. The plate is edged with a thin band of golden brown, and there are several chips around the rim. The plate is shown in front of a light gray background and it casts a light shadow to our right.
Francesco Xanto Avelli, Vincenzo Andreoli, Italian 16th Century, Plate with Hero leaping to her death from her tower and the drowned Leander; in the center, a shield of arms, 1538, tin-glazed earthenware (maiolica), Widener Collection, 1942.9.337

Plate with Hero leaping to her death from her tower and the drowned Leander; in the center, a shield of arms

Francesco Xanto Avelli, Vincenzo Andreoli, Italian 16th Century · 1538 · tin-glazed earthenware (maiolica) ·  Accession ID  1942.9.337

This is a painting of a mythological scene on a plate. The image shows a group of classical figures surrounding a central bearded figure emerging from a tree in a forested landscape. The figures wear vibrantly colored garments and are positioned around the tree as if interacting with the central figure. Above them is a coat of arms with an animal-like figure. The setting includes detailed trees, a mountainous landscape, and a blue sky. The scene is set on a decorative plate and demonstrates classical style with its rich use of color and detail.
Francesco Xanto Avelli, Plate with Amphiaraus and Eriphyle (from the Hercules Service), 1532, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection, 1926), 2015.19.4010

Plate with Amphiaraus and Eriphyle (from the Hercules Service)

Francesco Xanto Avelli · 1532 · tin-glazed earthenware (maiolica) ·  Accession ID  2015.19.4010

This is a painted bowl in vibrant colors. At the bottom, two small sheep stand on the tan-and-green ground. To the right, a small cherub with pale skin and blond hair stands, holding a bow with a quiver at their side. They are looking up and to the far right, where two people are intertwined below a group of tall trees. A person with the body of a human man and the head of a ram with curling horns has its arms extended, wrapping around a nude woman who has her mouth open. A pale orange cloth is draped from her back like a cape, and the male figure wears a blue draped toga. Both of these figures have light skin. On the other side of the bowl, to the left, a person draped in a blue robe stands looking at the two figures with a slightly downturned mouth. This person has light skin and orange hair, with what look like furry brown earmuffs over their head. They hold a staff and lean against a tall rocky mountain topped with grass and black trees. The background reveals a scenic view of rolling hills and a large stone structure akin to a castle or estate. The sky is rich with layered blue hues and has swirling cloud formations. In the center of the plate is a gold crest or shield, which features the profile of a person with dark skin looking to the left, a white headband tied around their head. A small gold canopy is over the crest.
Francesco Xanto Avelli, Broad-rimmed bowl with Neptune raping Theophane; arms of Pucci with an "ombrellino", 1532, tin-glazed earthenware (maiolica), Widener Collection, 1942.9.345

Broad-rimmed bowl with Neptune raping Theophane; arms of Pucci with an "ombrellino"

Francesco Xanto Avelli · 1532 · tin-glazed earthenware (maiolica) ·  Accession ID  1942.9.345

This is a painting on a ceramic plate of a mythological scene featuring a cherub and a reclining nude figure with a background of a landscape and buildings. The scene is richly colored with a vibrant palette, including deep blues, greens, and earth tones, depicting a landscape with a river or body of water, a tree, and classical-style architecture. The cherubic figure with colorful wings holds a bow, while the reclining figure is partially draped in orange fabric. This imagery is set on a round ceramic surface, likely a piece of Italian maiolica from the Renaissance period. This is in style of an anonymous Renaissance pottery artist, referencing both classical themes and decorative ceramics.
Francesco Xanto Avelli, Plate with an allegorical scene of a woman and a putto, c. 1527/1530, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection, 1926), 2015.19.3995

Plate with an allegorical scene of a woman and a putto

Francesco Xanto Avelli · c. 1527/1530 · tin-glazed earthenware (maiolica) ·  Accession ID  2015.19.3995

This is a painting on ceramic of a scene with horses and a landscape. The artwork features a central figure on a brown horse, with others on white horses on either side. The setting includes trees, a river, and distant architecture under a cloudy sky. Armor and weaponry are present, along with a figure on the ground. It is in the style of Italian Renaissance maiolica, known for its bright colors and detailed narrative scenes inspired by classical and mythological themes.
Francesco Xanto Avelli, Shallow bowl on low foot with the Conversion of Saul, c. 1525, tin-glazed earthenware (maiolica), Widener Collection, 1942.9.349

Shallow bowl on low foot with the Conversion of Saul

Francesco Xanto Avelli · c. 1525 · tin-glazed earthenware (maiolica) ·  Accession ID  1942.9.349

Bibliography

1873

  • Fortnum 1873, 344-350.

1914

  • Vitaletti, Guido. Francesco Xanto Avelli. Urbino, 1914.

1933

  • Rackham, Bernard, and Gaetano Ballardini. "Il pittore di maiolica '.F.R.'." Bollettino d'Arte 26 (1933): 393-407.

1960

  • Liverani, Giuseppe. "Avelli." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 79+ vols. Rome, 196)+: 4(1962):650-652.

1971

  • Mallet, J.V.G. "Maiolica at Polesden Lacey, III; a New Look at the Xanto Problem." Apollo 93 (1971): 170-183.

1976

  • Mallet, J.V.G. "A Maiolica Plate Signed 'F.R.'." Art Bulletin of Victoria (1976): 5-18.

1980

  • Francesco Xanto Avelli da Rovigo. Atti del convegno internazionale di studi 1980. Rovigo, 1980.

  • Petruzellis-Scherer, Jacqueline. "Le opere di Francesca Xanto Avelli al Castello Sforzesco." Rassegna di studi e di notizie (Milan) 8 (1980): 321-371.

1984

  • Mallet, J. V. G. "La biografia di Francesco Xanto Avelli alla luce dei suoi sonnetti." Faenza 70 (1984): 398-402.

1987

  • Wilson, Timothy. Ceramic Art of the Italian Renaissance. Austin, 1987: 52-59.

  • Cioci, Francesco. Xanto e il duca di Urbino. Milan, 1987.

1988

  • Holcroft, Alison. "Francesco Xanto Avelli and Petrarch." Journal of the Warburg and Courtauld Institutes 51 (1988): 225-234.

1993

  • Distelberger, Rudolf, Alison Luchs, Philippe Verdier, and Timonthy H. Wilson. Western Decorative Arts, Part I: Medieval, Renaissance, and Historicizing Styles including Metalwork, Enamels, and Ceramics. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1993: 199-201.