Madonna And Kid Through European Art Fine art Essay
Through history, persons had used artwork as a reflection of their religious beliefs and culture values. The illustration of “Madonna and Child” had been the most recurring arts in Christianity and European artwork in general. Relating to Christian beliefs, Madonna symbolizes the virgin marry and the kid represents baby Jesus. Believed these spiritual paintings and sculptures of The Madonna and Child could be along the same lines in their depiction of Christian iconography and creative style, each posesses different tastes and reflects different time periods and the various artists that had designed them. Three types of these paintings will be Madonna and Child, designed by Berlinghiero from the Italian Maniera Greca period, Madonna and Child created by Duccio during the Italian Proto-Renaissance, and Madonna and Kid with Angels created Cosimo Rosselli during the Early Italian Renaissance intervals. When a viewer observe these three Italian paintings, the viewer would recognize a development that takes place through the three time periods which is from the first thirteenth century to afterwards fifteenth century. Differences in these three paintings are the illustrations of the statistics, drapery style, treatment of space, and inclusion or the exclusion of the viewer. Nevertheless, the paintings represent very similar religious and cultural ideals since they all depict the Christian iconography of the Virgin Marry with baby Jesus. “Madonna and Child” is an extremely prevalent Christian iconography that was experienced through history since the Byzantine Empire.
The painting Madonna and Kid was painted around 1230 during the Italian Maniera Greca period by Berlinghiero, “the excellent painter of the thirteenth-century Lucca” (Museum Label). This painting is usually tempera on real wood with the two figures on front side of a gold history. Madonna is wearing a huge dark blue cloak with golden decorations which covers most of her overall body and a reddish costume underneath the cloak that can only be observed in her arms. Showing her modesty the sole things which can be seen from her overall body are her face, neck, and hands. Her face shows a depressed sense with the lines around her eyes and her small oral cavity that depicts a frown. Her hand has an unrealistic look which will be elongated and skinny. According to the Museum label, “Berlinghiero was always open to Byzantine influence, which Madonna is normally of the Byzantine type known as the Hodegefria, where the Madonna points to the kid as the best way to salvation.” The Hodegefria illustrate the Christian values and the value of the Byzantine what is a mixture skill. The Child is wearing an orange Clock that addresses almost all of his body. He’s seated along with one of is own mothers hands with his body system tilted towards his mother and his head facing the viewer. One of his hand points towards the right and in the additional hand he is holding a scroll that represent the spiritual scriptures, which carries a Christian iconography where the scriptures represents the bible. Thought his is suppose to become a child his face is an adult like face, which also can be a religious iconography that display Jesus as an adult child who leads people to salvation.
Berlinghiero’s Madonna and Kid is certainly inorganic and unrealistic when it comes to the drapery of the attire and the treatment of space. The statistics are also set in an awkward way with inorganic style of the body. There are lots of folds in the figures clothes which severe for a realist costume. The treatment of space is lacking in this painting, where in fact the figures seem to be toned and the source of light isn’t clear in depicting the area and atmosphere. This painting is similar in its drapery and treatment of space to the painting Madonna and Child Enthroned with Angels which is usually from the same time period. Believed the painting can be unrealistic, it is still considered as a very great artistic function that depicts cultural and spiritual values of this time.
Duccio’s Madonna and Child was created during the Italian Proto-Renaissance around 1300. Like the Berlinghiero’s painting, Duccio’s painting is tempera on timber with golden background. In addition, Madonna is using a blue cloak with golden lines on the edges which includes most of her human body. Madonna is searching at the Child who’s trying to play with her checks and retaining him with both of her hands. She seems to possess a sad search with her tilted mind towards her child. THE KID or Jesus can be wearing an orange attire with a reddish colored cloak over his shoulders. Compare to the kid from Berlinghiero’s painting, Duccio’s child is looks similar to a normal child. We are able to discover that the depiction of the kid has developed to a more realistic and organic a person. In this painting not only does the child looks reasonable in his facial features but along with his childish movement while playing with his mom checks. The drapery design is more organic and natural than that of Berlinghiero but is not totally realistic. It has a very serious and earthy feeling with its huge curves and lines and wrinkles. This painting also lacks the emphases of space, since the figures looks like flat on the golden background. This painting could be compared with Giotto’s paining Madonna Enthroned with Angels and Saints, which is from the same time period, where we are able to see similar drapery design and facial attributes of the kid. Furthermore, this painting likewise shows the counting spiritual values of Italian skill. This painting, like all of the Madonna and Kid paintings, gets the Christian values.
The third painting is the Early on Italian Renaissance painting Madonna and Child with Angels by Cosimo Rosselli which dates about 1480 to 1482. Imagined this painting is made of tempera and gold on wood, it is a lot more complex than both of the different paintings. In this painting Madonna is usually dressed up in a light red cloth and a light blue cloak floating over her head and shoulders as the child is shown nude, which differs than that of Berlingiero and Duccio’s paintings. The posture of the figures can be unique; Madonna is holding the kid with both of her hands to create him stand along with a table. Although, the child’s overall body is a little disproportional, the bodies of both numbers are more definition of grant organic and natural and organic. The bodies don’t have a longitude hands and awkward faces like the different two paintings, which display the production in artistic design and style of the figures. Furthermore, Rosselli’s painting includes a more developed drapery design and space treatment. The drapery is definitely more organic with ordinary looking lines and wrinkles. The treating space is also far more developed compared to the other two paintings. Since the other two paintings got the figures as if they are flat, this painting is considerably more organic for the reason that viewer can feel like the numbers are close while the background is seems far. This painting also has a vanishing point that gives the painting the feeling of space.
As observed in the three paintings of the Madonna and Child, we are able to see that fine art develops through the years. Even thought the paintings of Madonna and Child carries the same religious cultural values, one can see how the style of the painting improvements over intervals in its drapery design, space treatment, figure’s features, and actually the postures of the figures. Therefore, we noticed that the depiction of the Madonna and Kid in the late fifteenth century is more technical and organic and natural than that of the first thirteenth century.