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104-693: The painting has the traditional Christian subject, of the Madonna and Child , representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà , a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from

208-570: A Gospel book , and images of the Virgin were slow to appear in large numbers in manuscript art until the book of hours was devised in the 13th century. The Madonna of humility by Domenico di Bartolo , 1433, is considered one of the most innovative devotional images from the early Renaissance . Very few early images of the Virgin Mary survive, though the depiction of the Madonna has roots in ancient pictorial and sculptural traditions that informed

312-447: A Western illuminated manuscript of the Madonna and Child comes from the Book of Kells of about 800 (there is a similar carved image on the lid of St Cuthbert's coffin of 698) and, though magnificently decorated in the style of Insular art , the drawing of the figures can only be described as rather crude compared to Byzantine work of the period. This was in fact an unusual inclusion in

416-569: A commentary on, and glimpse of the Indian social scene. Churches in India, such as Tamil Nadu's Sanctuary of Our Lady of Vailankanni which was deemed a basilica by the Roman Catholic Church in 1962, similarly housed idols of Mary clad in a traditional saree . "These remain examples of how in art and in faith traditions merge, so do symbols and images, giving birth to syncretic cultures that testify

520-402: A delicate chiarascuro that is delicately sfumato (a novel technique of Cimabue's) and the fluidity of their clothes. The red and blue colors of their clothes indicate their substance, according to Renaissance thought: a fusion of fire and air. The angels above turn their heads and sink into the third dimension. The painting demonstrates the mature style of Cimabue, in which the artist overcomes

624-571: A detail missing from early Cimabue. Despite these improvements, there is a certain resistance to the stylistic innovations and techniques of Duccio and Giotto . This Maestà does not have the figurative refinement of the two works of the 1280s by Duccio, the Rucellai Madonna and the Crevole Madonna . Even the innovations of students of Giotto from 1290 on, barely appear here. The contrasts achieved here by Cimabue, for example, do not follow

728-586: A flood of more intensely personal forms of piety. In the usual Gothic and Renaissance formulas the Virgin Mary sits with the Infant Jesus on her lap, or enfolded in her arms. In earlier representations the Virgin is enthroned, and the Child may be fully aware, raising his hand to offer blessing. In a 15th-century Italian variation, a baby John the Baptist looks on. The socalled Madonna della seggiola shows both of them:

832-424: A form of devotion. Its expense registers in the use of thin sheets of real gold leaf in all parts of the panel that are not covered with paint, a visual analogue not only to the costly sheaths that medieval goldsmiths used to decorate altars, but also a means of surrounding the image of the Madonna with illumination from oil lamps and candles. Even more precious is the bright blue mantle colored with lapis lazuli ,

936-500: A hybrid of traditional and contemporary Latino subject matter representing the colonialist encounters between Europeans and Mesoamericans. In 2015 iconographer Mark Dukes created the icon Our Lady of Ferguson , depicting the Madonna and child, in relation to the Shooting of Michael Brown in Ferguson, Missouri . The first important encounter between Islam and the image of the Madonna

1040-725: A matter of protection, or as a commemoration of a reported miracle. In the 1920s, the Daughters of the American Revolution placed statues called the Madonna of the Trail from coast to coast, marking the path of the old National Road and the Santa Fe Trail . Throughout his life, the painter Ray Martìn Abeyta created works inspired by the Cusco School style of Madonna painting, creating

1144-472: A modestly scaled image of the Madonna as a half-length figure holding her son in a memorably intimate depiction, is to be found in the National Gallery of London. This is clearly made for the private devotion of a Christian wealthy enough to hire one of the most important Italian artists of his day. The privileged owner need not go to Church to say his prayers or plead for salvation; all he or she had to do

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1248-457: A more profound use of perspective. In the throne, there are three vertical panels with increasing depth, compared to the two panels of Cimabue's previous works. The pedestal and steps of the throne also have a concave design and are hollowed out in the front. The throne is shown from the front and reveals both its inner sides and that it is not a simple cross shape. The layout of the angels is also different. They are not simply placed over, but around

1352-581: A narrative context, depicting scenes from the Life of the Virgin , e.g. the Annunciation to Mary , are not typically called "Madonna". The earliest depictions of Mary date to Early Christian art of the (2nd to 3rd centuries, found in the Catacombs of Rome . These are in a narrative context. The classical "Madonna" or "Theotokos" imagery develops from the 5th century, as Marian devotion rose to great importance after

1456-515: A notable promoter of the cult of the Virgin, to whom the infant Christ reaches his hand. This type was long confined to Rome. The roughly half-dozen varied icons of the Virgin and Child in Rome from the 6th–8th century form the majority of the representations surviving from this period; "isolated images of the Madonna and Child ... are so common ... to the present day in Catholic and Orthodox tradition, that it

1560-479: A painting of Mary and Jesus , and a fresco of Abraham in order to keep them from being effaced. In the words of the historian Barnaby Rogerson , "Muhammad raised his hand to protect an icon of the Virgin and Child and a painting of Abraham, but otherwise his companions cleared the interior of its clutter of votive treasures, cult implements, statuettes and hanging charms." The Islamic scholar Martin Lings narrated

1664-568: A participant in sacred drama, her image inspires one of the most important fresco cycles in all of Italian painting: Giotto's narrative cycle in the Arena Chapel, next to the Scrovegni family's palace in Padua. This program dates to the first decade of the 14th century. Italian artists of the 15th century onward are indebted to traditions established in the 13th and 14th centuries in their representation of

1768-483: A partnership in which the artists' own interpretations of sacred art were encouraged and fostered." The Jesuits sourced small paintings, prints and sculptures from Europe for the Indian sculptors to use as reference, and the indigenous artists used their own traditions for fashioning such figures. One of the most brilliant example of this syncretic form is the figure called the Good Shepherd Rockery (also known as

1872-465: A popular picture, titled Birth Of Krishna, which was almost entirely based on popular prints of The Birth Of Jesus Christ, to the extent that the presence of three wise men of the East was also literally imitated in this work." Artists such as Jamini Roy also adopted this image, and Jesus and Mary would feature in the canvases of Tyeb Mehta , Krishnen Khanna , Madhvi Parekh and others in ways that provide

1976-406: A sense of three dimensions unusual for the time. (The preceding Maestás of Cimabue depicted more angular thrones.) The throne assumes a new sense of might, as an architectural mass embellished with carvings and marquetry. This central perspective, used by the mature Cimabue, was taken up again by Giotto , Duccio , and other artists of the 14th century. In a striking composition, the throne creates

2080-495: A sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within

2184-475: A specific date, the work is placed by recent critics in the mature phase of Cimabue, between c. 1290 and 1300, on the basis of stylistic details. The Marie sitting upon the throne has a distinctly large size, greater than the more tapered Maestà of the Louvre of c. 1280. This transition is seen in the frescoes of Basilica superiore di San Francesco d'Assisi  [ it ] of c. 1288–1292, where

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2288-526: A stage with the wide opening in its base through which four prophets are depicted in half bust view. They are recognizable by their cartouchesm which contain verses from the Old Testament that refer to Marie and the Incarnation of Jesus . The verses certify their prophecies and evoke the descent of Jesus from their lineage. The first, with the text " Creavit Dominus Novum super terram foemina circundavit viro "

2392-535: A state of mystical rapture. The heads of the angels are alternately inclined inwards or outwards, avoiding a completely profile representation, which was then reserved only for secondary or negative figures. (Giotto also broke that principle.) The angels closely resemble those in the Maestà of Cimabue in the frescoes of the Basilica inferiore di San Francesco d'Assisi  [ it ] . Their bodies are solid, modulated by

2496-563: A stone imported from Afghanistan. This is the case of one of the most famous, innovative and monumental works that Duccio executed for the Laudesi at Santa Maria Novella in Florence. Often the scale of the work indicates a great deal about its original function. Often referred to as the Rucellia Madonna (c. 1285), the panel painting towers over the spectator, offering a visual focus for members of

2600-519: A wall. Composed and solemn, Abraham and David in the center below the throne recall that Jesus descended from their lineage. The Christian meaning of the work, well-fitted to a church dedicated to the Holy Trinity , is thus focused on the threefold nature of the Virgin who is surrounded by the Holy Spirit. Below, at the sides of the throne, Jeremiah and Isaiah gaze up towards the child as if to confirm

2704-473: A youthful mother of her newborn child, she wears a deeply saturated blue mantle over a red garment. This mantle typically covers her head, where sometimes, one might see a linen, or later, transparent silk veil. She holds the Christ Child, or Baby Jesus, who shares her halo as well as her regal bearing. Often her gaze is directed out at the viewer, serving as an intercessor, or conduit for prayers that flow from

2808-448: Is Jeremiah , followed by Abraham toward the center (" In semine tuo benedicentur omnes gentes ") and David (" De fructu ventris tuo ponam super sedem tuam "), and finally Isaiah at right (" Ecce virgo concipet et pariet "). The gold behind the prophets, instead of flattening the painting, seems to accentuate the feeling of emptiness, which makes the prophets seem to stare out of windows or caves rather than that they are pressed against

2912-615: Is also not shown in Nativity scenes at this date, though she is included in the Adoration of the Magi . By the next century the iconic depiction of the Virgin enthroned carrying the infant Christ was established, as in the example from the only group of icons surviving from this period, at Saint Catherine's Monastery in Egypt . This type of depiction, with subtly changing differences of emphasis, has remained

3016-408: Is depicted expressing compassion, grief and love, usually in highly charged, emotional works of art even though the most famous, early work by Michelangelo stifles signs of mourning. The tenderness an ordinary mother might feel towards her beloved child is captured, evoking the moment when she first held her infant son Christ . The spectator, after all, is meant to sympathize, to share in the despair of

3120-517: Is difficult to recover a sense of the novelty of such images in the early Middle Ages, at least in western Europe". At this period the iconography of the Nativity was taking the form, centred on Mary , that it has retained up to the present day in Eastern Orthodoxy , and on which Western depictions remained based until the High Middle Ages . Other narrative scenes for Byzantine cycles on

3224-490: Is less usual, but not unheard of, to refer to it as the "Madonna of Vladimir". There are several distinct types of representation of the Madonna. The earliest representation of the Madonna and Child may be the wall painting in the Catacomb of Priscilla , Rome, in which the seated Madonna suckles the Child, who turns his head to gaze at the spectator. The earliest consistent representations of Mother and Child were developed in

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3328-623: Is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space. The tranquility of Giotto's figures resembled also the style of Pietro Cavallini . From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm. Lastly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano , whose work shares influences of Northern Gothic art. In

3432-574: Is now in the Uffizi Gallery of Florence , Italy . It represents the Madonna enthroned with the Baby Jesus and surrounded by eight angels and, below, four half portraits of prophets. The commissioning client of the painting is unknown, but they could have been a member of the order of Vallombrosians , who governed the Santa Trinita at the time, or a member of another religious order that intended

3536-555: Is said to have happened during the Prophet Muhammad 's conquest of Mecca . At the culmination of his mission, in 629 CE, Muhammad conquered Mecca with a Muslim army, with his first action being the "cleansing" or "purifying" of the Kaaba , wherein he removed all the pre-Islamic pagan images and idols from inside the temple. According to reports collected by Ibn Ishaq and al-Azraqi , Muhammad did, however, protectively put his hand over

3640-530: Is the Maestà di Assisi  [ it ] of c. 1288. In the Santa Trinita Maestà , Marie's mantle opens over her chest to reveal the red maphorion beneath, in a manner similar to the 1288 Maestà and differing from the others. The bridge of the nose has the faded left outline and the nostrils don't look like a simple thickening, but a kind of incision that enter the fin of the nose, details lacking in

3744-427: Is the use of gold tracing to delineate the folds of the fabric. In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric. Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts. Giotto used a value scale, a distinct range of light and dark, to create

3848-517: Is to me a cluster of henna blossoms" in the NIV ), "immaculate" Madonnas in pure, perfect white without child or accessories, and Madonnas with roses symbolizing her life determined by the mysteries of faith. In Italy, the roadside Madonna is a common sight both on the side of buildings and along roads in small enclosures. These are expected to bring spiritual relief to people who pass them. Some Madonnas statues are placed around Italian towns and villages as

3952-625: Is very prevalent in Christian iconography , divided into many traditional subtypes especially in Eastern Orthodox iconography , often known after the location of a notable icon of the type, such as the Theotokos of Vladimir , Agiosoritissa , Blachernitissa , etc., or descriptive of the depicted posture, as in Hodegetria , Eleusa , etc. The term Madonna in the sense of "picture or statue of

4056-565: The Life of the Virgin were being evolved, relying on apocyphal sources to fill in her life before the Annunciation to Mary . By this time the political and economic collapse of the Western Roman Empire meant that the Western, Latin, church was unable to compete in the development of such sophisticated iconography , and relied heavily on Byzantine developments. The earliest surviving image in

4160-631: The Council of Ephesus formally affirmed her status as " Mother of God or Theotokos ("God-bearer") in 431. The Theotokos iconography as it developed in the 6th to 8th century rose to great importance in the high medieval period (12th to 14th centuries) both in the Eastern Orthodox and in the Latin spheres. According to a tradition first recorded in the 8th century, and still strong in the Eastern Church,

4264-520: The 18th century and Langton Douglas in the 19th. Critics are more divided, however, over the work's dating. It's uncertain whether the painting was executed before or after the frescoes at the Basilica of Saint Francis of Assisi . Contemporary critics have tended to date the work to after the frescoes, between 1290–1300. The painting displays Byzantine iconography much like the Hodegetria archetype (in Greek,

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4368-463: The Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis. Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting. Within Cimabue's Santa Trinita Maestà , there

4472-520: The Assisi frescoes. There, only in the apse representing Christ and the Virgin Enthroned and the last of the Assisi frescoes, is there a frontal view. Even the students of Duccio and Giotto depicted thrones in this way for all of the 1290s and others, indicated as the representation of a frontal-view throne was a late achievement of Cimabue, found it only in this Santa Trinita Maestà . The second detail

4576-546: The Christ child on Madonna's lap signifies and is reverberated in the image of Krishna-Yashoda or Devaki, is perhaps what marks the culture of love", and justifies the various interpretations of this symbol in art and poetry found across the subcontinent. There are a large number of articles on individual works of various sorts in Category:Virgin Mary in art and its sub-category. See also the incomplete List of depictions of

4680-413: The Christian, to her, and only then, to her son. However, late medieval Italian artists also followed the trends of Byzantine icon painting, developing their own methods of depicting the Madonna. Sometimes, the Madonna's complex bond with her tiny child takes the form of a close, intimate moment of tenderness steeped in sorrow where she only has eyes for him. While the focus of this entry currently stresses

4784-653: The Early Christian period and in Tuscany in the Late Middle Ages. There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna . The influence of Cimabue , traditionally recognized as Giotto's teacher (based on Giorgio Vasari 's 16th century Lives of the Most Excellent Painters, Sculptors, and Architects ), is shown first in the very symmetrical composition of

4888-477: The Eastern Empire, where despite an iconoclastic strain in culture that rejected physical representations as " idols ", respect for venerated images was expressed in the repetition of a narrow range of highly conventionalized types, the repeated images familiar as icons ( Greek "image"). On a visit to Constantinople in 536, Pope Agapetus was accused of being opposed to the veneration of the theotokos and to

4992-593: The Good Shepherd Mount or Bom Pastor) which "displays the coming together of cultures in both its iconography and its features, encapsulating how Goan sculptors created images of the divine that are Catholic, European, and South Asian". The child form of Christ in this figure, with round face and smooth skin were perhaps drawn from sculptures of baby Krishna. Whereas, in Bengal, the Chore Bagan Art Studio,

5096-608: The Kansaripara Art Studio and the Calcutta Art Studio, produced homegrown prints around the second half of the nineteenth century. These artists, were influenced by the various depictions of Christ in the European prints which had infiltrated the market of the time. And perhaps the closest connection they could draw was between the child Christ and Krishna. Jyotindra Jain comments: "... the Chore Bagan Art Studio published

5200-544: The Laudesi confraternity to gather before it as they sang praises to the image. Duccio made an even grander image of the Madonna enthroned for the high altar of the cathedral of Siena, his home town. Known as the Maesta (1308–1311), the image represents the pair as the center of a densely populated court in the central part of a complexly carpentered work that lifts the court upon a predella (pedestal of altarpiece) of narrative scenes and standing figures of prophets and saints. In turn,

5304-561: The Madonna is far more rich and complicated. Byzantine art played a long, critical role in Western Europe, especially when Byzantine territories included parts of Eastern Europe, Greece and much of Italy itself. Byzantine manuscripts, ivories, gold, silver and luxurious textiles were distributed throughout the West. In Byzantium, Mary's usual title was the Theotokos or Mother of God, rather than

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5408-476: The Madonna. While the 15th and 16th centuries were a time when Italian painters expanded their repertoire to include historical events, independent portraits and mythological subject matter, Christianity retained a strong hold on their careers. Most works of art from this era are sacred. While the range of religious subject matter included subjects from the Old Testament and images of saints whose cults date after

5512-469: The Virgin Mary and it was believed that salvation was delivered to the faithful at the moment of God's incarnation . That theological concept takes pictorial form in the image of Mary holding her infant son. However, what is most relevant to the Byzantine heritage of the Madonna is twofold. First, the earliest surviving independent images of the Virgin Mary are found in Rome, the center of Christianity in

5616-505: The Virgin Mary" enters English usage in the 17th century, primarily in reference to works of the Italian Renaissance . In an Eastern Orthodox context, such images are typically known as Theotokos . "Madonna" may be generally used of representations of Mary, with or without the infant Jesus, where she is the focus and central figure of the image, possibly flanked or surrounded by angels or saints. Other types of Marian imagery that have

5720-507: The Virgin and Child . The term "Madonna" is often applied to representations of Mary that were not created by Italians. A small selection of examples include: Santa Trinita Maest%C3%A0 The Santa Trinita Maestà (Italian: Maestà di Santa Trinita ) is a panel painting by the Italian medieval artist Cimabue , dating to c.  1288 -1292. Originally painted for the church of Santa Trinita, Florence , where it remained until 1471, it

5824-486: The Virgin embraces the infant Jesus, near John the Baptist. Late Gothic sculptures of the Virgin and Child may show a standing virgin with the child in her arms. Iconography varies between public images and private images supplied on a smaller scale and meant for personal devotion in the chamber: the Virgin suckling the Child (such as the Madonna Litta ) is an image largely confined to private devotional icons. There

5928-408: The aim to dominate the spice trade and spread their Christian faith, and these small, portable ivory statues would embellish the church altars and Goan homes, and were also transported abroad serving to fulfil their later project. These figurines were carved by the Indian artists under the guidance of the Jesuits". Art historian Gauvin Alexander Bailey notes that the Jesuit art commissions "were . . .

6032-432: The ample folds. The golden highlights from Damascening suggest the fluid touch of light on the Madonna's mantle and the clothing of Jesus. And the facial chiarascuro creates more effective contrast. There is also better anatomical features to the faces, with their smoothed edges and detailed brushstrokes. For example, the Madonna has a cut at the level of her nostril that slips into the fin of her nose or accents her smile,

6136-433: The borders of its land, and ultimately, plundering its churches, palaces and monasteries of many of its treasures. Later in the Middle Ages , the Cretan school was the main source of icons for the West, and the artists there could adapt their style to Western iconography when required. While theft is one way that Byzantine images made their way West to Italy, the relationship between Byzantine icons and Italian images of

6240-408: The bounds of Byzantine art. His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture. The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration. This method of decoration, based on a style called Cosmatesque or Cosmati , was popular in Rome since

6344-401: The church or Giotto's use of exaggeration with lighting. Madonna and Child In art, a Madonna ( Italian: [maˈdɔnna] ) is a representation of Mary , either alone or with her child Jesus . These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna  'my lady' (archaic). The Madonna and Child type

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6448-484: The codification of the Bible, the Madonna remained a dominant subject in the iconography of the Renaissance. Some of the most eminent 16th-century Italian painters to turn to this subject were Leonardo da Vinci , Michelangelo , Raphael , Giorgione , Giovanni Bellini and Titian . They developed on the foundations of 15th-century Marian images by Fra Angelico , Fra Filippo Lippi , Mantegna and Piero della Francesca in particular, among countless others. The subject

6552-424: The constraints of Italo-Byzantine and Gothic art . It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto. There are many sources that show he spent many years living and creating in Florence. However,

6656-419: The dates of the cluster of these earlier images, however, they seem to be primarily works of the 7th and 8th centuries. It was not until the revival of monumental panel painting in Italy during the 12th and 13th centuries, that the image of the Madonna gains prominence outside of Rome, especially throughout Tuscany . While members of the mendicant orders of the Franciscan and Dominican Orders are some of

6760-422: The depiction of the Madonna in panel painting, her image also appears in mural decoration, whether mosaics or fresco painting on the exteriors and interior of sacred buildings. She is found high above the apse, or east end of the church where the liturgy is celebrated in the West. She is also found in sculpted form, whether small ivories for private devotion, or large sculptural reliefs and free-standing sculpture. As

6864-431: The earlier Maestàs. The mouth has a serene air, almost a smile, that contrasts with the sad and serious air of the Louvre Maestà and the Virgin and Child with Two Angels , but that is found in the Maestà di Assisi and Maestà of Santa Maria dei Servi . Even the color of the angels' wings is indicative. It changes from dark colors of flight feathers below, to the clear, lively colors of down feathers that grow darker

6968-532: The earliest Christian communities throughout Europe, Northern Africa and the Middle East. Important to Italian tradition are Byzantine icons , especially those created in Constantinople (Istanbul), the capital of the longest, enduring medieval civilization whose icons participated in civic life and were celebrated for their miraculous properties. Byzantium (324–1453) saw itself as the true Rome , if Greek -speaking, Christian empire with colonies of Italians living among its citizens, participating in Crusades at

7072-446: The event thus in his biography of the Prophet : "Christians sometimes came to do honour to the Sanctuary of Abraham, and they were made welcome like all the rest. Moreover one Christian had been allowed and even encouraged to paint an icon of the Virgin Mary and the child Christ on an inside wall of the Ka'bah, where it sharply contrasted with all the other paintings. But Quraysh were more or less insensitive to this contrast: for them it

7176-438: The figures have a size not seen in Cimabue's previous works. The folds of blue mantles no longer wraps but drapes loosely on bodies, on the knees of Marie, for example. The folds above her head fall vertically and are not drawn into concentric circles as in the first Madonna paintings by Cimabue, like the Louvre Maestà , Virgin and Child with Two Angels , or the Maestà of Santa Maria dei Servi . A more recent, similar painting

7280-416: The first to commission panels representing this subject matter, such works quickly became popular in monasteries, parish churches, and homes. Some images of the Madonna were paid for by lay organizations called confraternities, who met to sing praises of the Virgin in chapels found within the newly reconstructed, spacious churches that were sometimes dedicated to her. Paying for such a work might also be seen as

7384-445: The flat gold ground , Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period. The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures. Giotto's figures, however, escape

7488-401: The higher they are. This palette use seems like the end of the evolution that started with the c. 1280 Louvre Maestà . But there three details that help locate this Maestà after the Maestà di Assisi of c. 1288. The throne is represented from the front and not diagonally, as in all the other Cimabue Maestàs. The passage of the diagonal representation to one that is frontal is seen in

7592-701: The iconography of images of Mary goes back to a portrait drawn from life by Luke the Evangelist , with a number of icons (such as the Panagia Portaitissa ) claimed to either represent this original icon or to be a direct copy of it. In the Western tradition, depictions of the Madonna were greatly diversified by Renaissance masters such as Duccio , Leonardo da Vinci , Michelangelo , Raphael , Giovanni Bellini , Caravaggio , and Rubens (and further by certain modernists such as Salvador Dalí and Henry Moore ), while Eastern Orthodox iconography adheres more closely to

7696-582: The idol of Krishna-Devaki, the Portuguese had not decimated the temple, for it had reminded them of Virgin Mary-Jesus. "An impressive idol of Devaki, carrying the infant lord on her waist, stands at the inner sanctum of the temple. The image is unusual because while there exists a plethora of temples in the country dedicated to Krishna, there is no image of Devaki". Historian Anant Dhume, in his book 'The Cultural History of Goa from 10,000 BC to 1352 AD', compares

7800-460: The idol with the image of Madonna and the Christ child because of the similarities. In the book, Dhume elaborates: "However, the idol of Devkikrishna originally of Chodan Island, Tiswadi taluka transferred at the time of molestation by the Christian missionaries to Mashela (Marcela in Portuguese) hamlet of Orgaon village, Ponda taluka, is interesting ... History says that Vasco da Gama in his old age

7904-427: The increased importance of the cult of the virgin and the prominence of art in service to Marian devotion during the late medieval period. During the 13th century, especially, with the increasing influence of chivalry and aristocratic culture on poetry, song and the visual arts, the Madonna is represented as the queen of Heaven, often enthroned, such as the Ognissanti Madonna . Madonna was meant more to remind people of

8008-620: The inherited traditional types. Liturgy depicting Mary as powerful intercessor (such as the Akathist ) was brought from Greek into Latin tradition in the 8th century. The Greek title of Δεσποινα ( Despoina ) was adopted as Latin Domina "Lady". The medieval Italian Ma Donna pronounced [maˈdɔnna] ("My Lady") reflects Mea Domina , while Nostra Domina (δεσποινίς ἡμῶν) was adopted in French, as Nostre Dame "Our Lady". These names signal both

8112-446: The level of the second floor or higher, and often on the corner of a house, such sculptures were found in great numbers in many cities; Mainz , for instance, was supposed to have had more than 200 of them before World War II . The variety in such statues is as great as in other Madonna images; one finds Madonnas holding grapes (in reference to the Song of Songs 1:14, translated as "My lover

8216-407: The main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti 's autobiography, I Commentarii (1447). An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence. One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city. It

8320-581: The mainstay of depictions of Mary to the present day. The image at Mount Sinai succeeds in combining two aspects of Mary described in the Magnificat , her humility and her exaltation above other humans, and has the Hand of God above, up to which the archangels look. An early icon of the Virgin as queen is in the church of Santa Maria in Trastevere in Rome, datable to 705–707 by the kneeling figure of Pope John VII ,

8424-594: The medieval West. One is a valued possession of Santa Maria in Trastevere , one of the many Roman churches dedicated to the Virgin Mary. Another, a splintered, repainted ghost of its former self, is venerated at the Pantheon , that great architectural wonder of the Ancient Roman Empire , that was rededicated to Mary as an expression of the Church's triumph. Both evoke Byzantine tradition in terms of their medium, that is,

8528-438: The more rigid Byzantine styles with forms that are more loose and humanistic. According to Giorgio Vasari, this style made Cimabue the first to replace that style. The frontal view of the throne, the serene face of the Virgin, the details of the blunt face and sfumatoed chiaroscuro place the work far from the Byzantine canon from which Cimabue gradually freed himself. Compared to his preceding Maestà paintings, this one presents

8632-472: The mother who holds the body of her crucified son. In some European countries, such as Germany, Italy and Poland sculptures of the Madonna are found on the outside of city houses and buildings, or along the roads in small enclosures. In Germany, such a statue placed on the outside of a building is called a Hausmadonna . Some date back to the Middle Ages, while some are still being made today. Usually found on

8736-408: The name means "pointing the way"), because the Virgin is indicating toward the Baby Jesus. In this style, the Madonna symbolizes the Christian church and Jesus life, truth, and the proper way. The Madonna is depicted in three-quarters profile, while Jesus looks straight ahead. The throne is depicted from an innovative frontal view, with a large gap at the center and seen in perspective, which gives it

8840-641: The other paintings, except that of Abraham, were effaced." In Indian art there are striking similarities found in between the images of Madonna and Christ Child, and Yashoda or Devaki and Krishna , as both the Hindu and the Christian figures of the "eternal child" are shown cuddled warmly on the laps of their mother. There also exists a temple in Goa , the Shree Devakikrishna Temple at Marcel, where seeing

8944-507: The painting for another destination. According to Vasari 's testimony in his Lives , the work remained at the Santa Trinita until 1471, when it was replaced by the Trinitá of Alesso Baldovinetti and transferred to a side chapel of the church, since it was less respected than the newer Renaissance paintings. Over the years, it was eventually relegated to the infirmary of the monastery. With

9048-547: The piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà (c. 1290, also Uffizi), also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes. Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there

9152-476: The portrayal of her image in churches. Eastern examples show the Madonna enthroned, even wearing the closed Byzantine pearl-encrusted crown with pendants, with the Christ Child on her lap. In the West, hieratic Byzantine models were closely followed in the Early Middle Ages, but with the increased importance of the cult of the Virgin in the 12th and 13th centuries a wide variety of types developed to satisfy

9256-500: The principles of a single light source. Nor do the folds seem to find better positions over the bodies. The gazes remain vague. The color palette is also limited in its complexity, especially when compared with the recent developments of the nascent Sienese School and the palette of Giotto himself. In that, Cimabue seems to recreate features of his earlier work, which made him famous but now make him seem outdated compared to his contemporaries. Although there are not documents to attest to

9360-510: The prophecies written in their documents on the miraculous virgin birth of Jesus. With their gaze, they create a triangle whose vertex is the throne of Marie. The arrangement of the four prophets has a precise doctrinal explanation: the patriarchs toward the center represent that human rational capacity, that inquires in the mystery of the Incarnation. Meanwhile, the prophets on the sides have dissolved their doubts through contemplation and are in

9464-442: The ravages of communal hate, man-made differences and orthodox interpretations". Nirendranath Chakraborty , one of the finest modern poets of Bengal wrote, taking forward this imagery of the mother and the child, wrote a famous poem entitled "Kolkatar Jishu" (The Jesus of Calcutta). The everlasting tenderness of the mother-child figure, of motherhood and the unconditional bond of love and warmth that this relationship holds, "that

9568-570: The reconsideration of "primitive" Italian art , the painting passed to the Florentine Galleria dell'Accademia in 1810 and then on to the Uffizi in 1919. At an unknown date, the painting was cut into a rectangular shape by removing the uppermost part of the painting's apex and the addition of two parts on which angels were painted. The panel was returned to its original pointed form during its first restoration in 1890 by Oreste Cambi. Cambi removed

9672-464: The technique and materials of the paintings, in that they were originally painted in tempera (egg yolk and ground pigments) on wooden panels. In this respect, they share the Ancient Roman heritage of Byzantine icons. Second, they share iconography , or subject matter. Each image stresses the maternal role that Mary plays, representing her in relationship to her infant son. It is difficult to gauge

9776-530: The theological concept which is placing such a high value on purity or virginity. This is also represented by the color of her clothing. The color blue symbolized purity, virginity, and royalty. Ultramarine was usually reserved for only the most important commissions, such as the blue robes of the Virgin Mary in Gérard David's Virgin and Child with Female Saints . While the Italian term Madonna paralleled English Our Lady in late medieval Marian devotion, it

9880-467: The throne, which gives the composition further depth. The figures are more expanded than Cimabue's earlier work, giving greater realism. The folds in clothing are no longer rigid and tight, as in the Maestà of the Louvre from c. 1280. Instead they fall amply, as over the legs of Marie, or appear less arched, as in the blue mantle that covers her head. Byzantine iconography reappears in that blue mantle, but only for decorative purposes—a serene addition to

9984-466: The two additions and creating an appropriately styled point for the painting, which is still present. A second restoration was completed by Marcucci in 1947–1948 and a third by Alfio Del Serra in 1993. Vasari , and the Libro di Antonio Billi  [ it ] attributed this painting to Cimabue , and the attribution has been confirmed by most modern scholars, with the exception of Guglielmo della Valle in

10088-507: The work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna . Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in

10192-478: Was a great expansion of the cult of Mary after the Council of Ephesus in 431, when her status as Theotokos ("God-bearer") was confirmed; this had been a subject of some controversy until then, though mainly for reasons to do with arguments over the nature of Christ . In mosaics in Santa Maria Maggiore in Rome, dating from 432 to 440, just after the council, she is not yet shown with a halo , and she

10296-665: Was appointed Vice-Roy of all colonies of the Far East as a gesture of honour. One day, he visited Chodan Island. When he saw this idol through the main doorway, he immediately saluted the image and went on his knees, considering it the image of Mother Mary, with baby Jesus ..." During the Portuguese reign in Goa starting from the 16th Century, the Indo-Portuguese ivory statuettes made, reflected such similarities. "The Portuguese had settled with

10400-808: Was equally popular in Early Netherlandish painting and that of the rest of Northern Europe. The subject retaining the greatest power on all of these men remained the maternal bond, even though other subjects, especially the Annunciation , and later the Immaculate Conception , led to a greater number of paintings that represented Mary alone, without her son. As a commemorative image, the Pietà became an important subject, newly freed from its former role in narrative cycles, in part, an outgrowth of popular devotional statues in Northern Europe. Traditionally, Mary

10504-582: Was imported as an art historical term into English usage in the 1640s, designating specifically the Marian art of the Italian Renaissance . In this sense, "a Madonna", or "a Madonna with Child" is used of specific works of art, historically mostly of Italian works. A "Madonna" may alternatively be called "Virgin" or "Our Lady", but "Madonna" is not typically applied to eastern works; e.g. the Theotokos of Vladimir may in English be called "Our Lady of Vladimir", while it

10608-416: Was open the shutters of the tabernacle in an act of private revelation. Duccio and his contemporaries inherited early pictorial conventions that were maintained, in part, to tie their own works to the authority of tradition. Despite all of the innovations of painters of the Madonna during the 13th and 14th centuries, Mary can usually be recognized by virtue of her attire. Customarily when she is represented as

10712-506: Was originally painted for the Ognissanti church in Florence. Built for the Humiliati , a small religious order at the time, the church had many acclaimed paintings designed for it. Specifically, Giotto's Madonna Enthroned was designed for the high altar. The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and

10816-462: Was simply a question of increasing the multitude of idols by another two; and it was partly their tolerance that made them so impenetrable.... Apart from the icon of the Virgin Mary and the child Jesus, and a painting of an old man, said to be Abraham , the walls inside had been covered with pictures of pagan deities . Placing his hand protectively over the icon, the Prophet told Uthman to see that all

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