Laurana, Francesco

born с 1430, Vrana, Dalmatia, republic of Venice
died before March 12, 1502, Avignon, Fr.

Italian sculptor and medalist.

His early life is obscure. In 1453 he was commissioned to work on the Castel Nuovo in Naples. From 1461 to 1466 he was in Provence at the court of the duke of Anjou, for whom he executed a series of medals. His other documented works include Madonnas and bas-reliefs in Italy (chiefly Sicily and Naples) and France, as well as tombs and architectural sculptures in France. He is best known for his portrait busts of women, characterized by serene, detached dignity and aristocratic elegance.

"Eleonora of Aragon," portrait bust by Francesco Laurana; in the National ...

Alinari/Art Resource, New York

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▪ Italian sculptor
original name  Francesco de la Vrana 
born c. 1430, Vrana, Dalmatia, republic of Venice [now in Croatia]
died before March 12, 1502, Avignon, France

      early Italian Renaissance sculptor and medalist, especially distinguished for his severely elegant portrait busts of women and as an early disseminator of the Renaissance style in France.

      Laurana's early career is obscure, the first notice of him, in 1453, being when he was paid by Alfonso II of Aragon for work on the triumphal arch of the Castel Nuovo in Naples. Between 1461 and 1466 he was at the court of René, duke d'Anjou (René I), rival claimant to the throne of Naples. By 1468, however, Laurana was in Sicily, and he seems to have spent the remainder of his life there, at Naples, and in the south of France.

      Laurana's documented works include a series of medals executed for René, statues of the Madonna and bas-reliefs in Italy and Sicily, and tombs and architectural sculpture in the south of France. His portrait busts include those of Battista Sforza (Bargello, Florence) and Beatrice of Aragon (Frick Collection, New York). They are characterized by serene, detached dignity and reserve. Laurana created an ideal image of aristocratic elegance by reducing details to a minimum and concentrating on the essential geometry of forms harmoniously balanced, clearly and precisely carved. In its seriousness and gravity of impression, as well as in its simplification of forms, Laurana's work may be compared to that of Piero della Francesca, whom he may have known in Urbino, since his relative Luciano Laurana (Laurana, Luciano), the architect, was active there.

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Universalium. 2010.

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