Analysis Of Virgin And Child Enthroned By Cimabue

One of the most celebrated paintings in the Robert Lehman Collection, this jewel-like representation of the Annunciation is set in an architectural interior constructed according to a rigorous system of one-point perspective. The panel was almost certainly commissioned as a private devotional image, not as part of a larger structure. While the identity of the patron is not known, the work was in the famed Barberini collection in Rome in the seventeenth century.

The first thing to note is the overall composition of the painting. First and foremost it is a landscape painting. The colors are very monochrome; the space is stretched to reveal a depth to the painting that the eye cannot capture; and there is stillness to the art that embraces nature and serenity of life. In the right-hand corner of the painting there is calligraphy. The calligraphy lacks the precision, but is very clear in its form, much like the depiction within the painting

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

This painting was created by the artist Parmigianino in 1534–1535 during the Renaissance & Mannerism time period in Florence, Italy. The painting is oil on wood. The painting portrays the Virgin Mary placed on a high pedestal in extravagant robes, holding a very large baby Jesus on her lap. Next to her are a few angels showing interest in the baby Jesus. In the lower right-hand corner of the painting shows the emaciated figure of St. Jerome. A representation of St. Jerome was required by the administrator because of the saint's relation with the adoration of the Virgin Mary. The Madonna with the Long Neck is a portrayal of the Virgin Mary who seems to be very disproportioned.

Similarly, the image of Madonna Enthroned was painted by Cimabue in Italy during the 13th Century, an interesting period of the country’s religious and art history. It was during the 13th Century that Italy was on the brink of a great revival known as the Renaissance. Cimabue’s work represents the best of the Byzantine Tradition. Cimabue is also the well-known teacher of Giotto, one of the leading artists of the Italian Renaissance. http://en.wikipedia.org/wiki/Cimabue

Cimabue (1240-1302) was a master Florentine painter and mosaicist, who was a pioneer in the artistic movement towards naturalism in his time. Cimabue introduced three-dimensional designs using the Romanesque approach, with Byzantine models and medieval techniques to create his own style, which was soon enough followed by many other artists. He was born with the name of Bencivieni di Pepo, and was probably nicknamed Cimabue, or “Oxhead” because of Cima has the meaning of “head” and bue meaning “ox”, unfortunately, we know very little of his personal life, thus no one is exactly sure why he got the name Cimabue. It is a common error that he was named Giovanni, also he was not noble born as it is an error in many books.

The painting, ‘Virgin and Child with Donor’, by Antoniazzo Romano, despite painting a similar scene, possesses several differences. The most notable difference is the fact that the work of art was crafted on an entirely different medium, which was the ‘Tempera and gold leaf on wood’, according to the museum’s description. The painting is similar to Rogier van der Weyden’s work in its depiction of the Virgin Mary with very soft, blended features. The facial expression of the Virgin Mary is also very like that of Rogier van der Weyden’s painting as well, conveying a sense of peace and

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

There is an obvious use of geometric shape of a circle on the sphere to form its whole shape and having organic shapes for the whole figure of the countess and especially the clouds in the background and foreground. The artist has also managed to develop the texture in this painting. He mainly used light and rough brushstrokes instead of thick layers of paint like impasto. Gentle and small brushstrokes build up the figure of Rachel de Ruvigny, from her hair to her gown. These brushstrokes do not appear loose or quick. The shine and the way the fabric flows create the texture of silk (see fig. 6). The application of oil paint has helped in achieving the production of this texture. For the clouds, the build up of paint through dabbing and swirling has made them look soft and fluffy. The sphere is also painted with reflective spots and a smooth surface to create the texture of a sleek fragile orb. Moving on to the colour harmony of this painting, Anthony van Dyck has used complementary colours two of which are blue and orange. The subject, Rachel de Ruvigny, is mainly wearing a blue/blue-green gown as where the background and other objects such as the sphere and skull are painted in this dark hue of orange that contrasts with the main subject. Van Dyck has also used different types of lines in this painting. Firstly, the folds and wrinkles in her clothes are created by soft and sensual lines that have made the fabric more realistic. Also, contour lines have been used to

During the 14th century, much Italian work was influenced by the previous cultures and their artistic convention. Specifically, the Byzantine Empire had a lot of influence on the artworks causing similar aspects and characteristics in the Italian style of painting. Cimabue and Giotto used key features of the Byzantine style of art, such as the use of gold and lack of individuation, yet they broke away from that style by adding depth and representation of space into their paintings. The Madonna Enthroned, by Cimabue and by Giotto di Bondone has some similarities as well as differences: Cimabue and Giotto are both known for breaking away from the Italo-Byzantine style of art and entering the Proto-Renaissance era.

For example, Joseph’s robe is green with a red shall overtop of it. Mary’s robe is red with a blue shall over top, which shows us what color combination the artist is using. The brush strokes are firm and thin in this painting, although the artist does use thicker brush stokes when creating the donkeys body and very loose brush strokes when creating the trees as well as Mary and Josephs hair. This paint in this art is saturated and opaque. The colors are duller and don’t show much saturation other than in Joseph and baby Jesus’s bright red robes.

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

In the painting, it depicts the Virgin and Child. The Virgin sits on a throne and hold his child with her arms. She is breast feeding her child. The child is naked in the Virgin’s arms. With his eyes open, it seems like the child is looking around.

Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a wide diversity in their representations of the iconic duo. In particular, two works found in the National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John the Baptist and Prophets by an unknown artist (1325-1450) and The Virgin and Child by Paolo Uccello (1435-1440), highlight the transition between Byzantine and early Renaissance paintings of the Madonna and Child, particularly in relation to subject matter, composition, material, style and meaning. Although each of these paintings of the Madonna and Child depicts the same Christian iconography of Mary and Jesus, their differences in composition and style influence their meaning, with each painting reflecting the individual artist who painted it and the different time period during which it was created.