Madonna and Child

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)

differences that can be found when comparing Machiavelli’s ‘Virgin and Child Enthroned with Saints’ (c. 1470) and Uccello’s ‘Virgin and Child’ (c.1435-1440), one must consider the importance of the Madonna and Child icon in Renaissance art. The Florentine artist Giotto was one of the most influential figures in art during the early fourteenth century. Giotto, a true innovator, transformed the once heavily stylized depictions of Madonna and Child into believable, lifelike pictures. He put an emphasis on three-dimensional

Introduction: Out of most of the pieces on display in the Renaissance corridor located on the second floor of the museum, Lorenzo Monaco's Madonna and Child caught my eye in such a strange, peculiar manner. This was partially due to my fascination with early renaissance artwork and the artist of that era. It is a medium-sized tempera piece layered on panel placed right of the second room of the corridor. Historically speaking, it was devised between the years of 1370-1371 in Florence, Italy. This

characteristics in the paintings The Madonna and Child with Saints Louis of Toulouse, John the Evangelist, and Donors by David Ghirlandaio and The Sinking of the Titanic by Max Beckmann, I was able to determine the former displays intellectual art and the latter displays emotional art. I classified The Madonna and Child as intellectual art due to many reasons. I immediately noticed that the painting has horizontal and vertical lines. These suggest stability and immobility. Madonna is sitting straight up with

bond between mother and child has been a constant theme in the world of the humanities. While that bond has been the same throughout history, its portrayal in art has varied from decade to decade. Two artists, Artemisia Gentileschi and Mary Cassatt, chose to create pieces based on this bond, but the use of mediums and the influence from religion (or the lack thereof) help to distinguish between the artists and their time periods. Artemisia Gentileschi's Madonna and Child, was created during the

After thoroughly reading Chapters one and two, it became transparent that both Enthroned Madonna and Child and Ognissanti Madonna are nonetheless similar in size, structure and style. Beginning with his work, the painting is roughly twelve feet tall. Cimabue used various leveled scale with the indivduals in this piece (the idea that greater is better and generally critical). Various leveled scale implies placing things all together of significance in respect to estimate. In this piece the blessed

aphael: The Madonna of the Candelabra      During the Italian Renaissance Raphael was one of the most influential artists. He painted many brilliant pieces, mastering the use of depth, perspective, and the use of shadow and light. Throughout his life, Raphael used the Madonna as a reoccurring subject in his work. One example of this subject is the Madonna of the Candelabra. This dark shadowy portrayal exemplifies the pure and humanistic ideals of the Madonna that made Raphael’s

facing the entrance directly. The translucent ceiling above has many small lamps facing in different directions to light the room, but the one aiming directly at the front of this painting is noticeably brighter than the rest. Albrecht Duerer’s Madonna and Child is illuminated with such ferocity from above that its angled, bronze-painted frame casts a shadow both on the painting and on the column below. Surrounding this painting is the taupe-grey of the column, which has a slightly deeper surface for

naturalism the increased piety of Italians evident on the heavy demand for devotional images, and the expanding consciousness of philosophical and scholastic abstractions relating to the natural world. Likewise, the Master of Straus Madonna’s Madonna and Child of the Goldfinch (Museum of Fine Arts, Houston) of c. 1395-1400 and Antoniazzo

The images of Madonna and Child (1425) and the Virgin Adoring the Christ Child with St. John the Baptist and Two Angels (1500-1520) show the transformations in painting accumulated by artists during the Renaissance period. In Michael Baxandall’s work Painting and Experience in the Fifteenth Century Italy he uses contracts between artists and commissioners to present a sort of timeline of differences between what people wanted in works of art during the fifteenth century. At the beginning of the