Through history, people had used art as a contemplation of their spiritual beliefs and civilization values. The illustration of “ Madonna and Child ” had been one of the most revenant humanistic disciplines in Christianity and European art in general. Harmonizing to Christian beliefs, Madonna represents the virgin marry and the kid represents baby Jesus. Thought these spiritual pictures and sculptures of The Madonna and Child may be along the same lines in their word picture of Christian iconography and artistic manner, each carries a different gustatory sensation and reflects the different clip periods and the different creative persons that had created them. Three illustrations of these pictures are Madonna and Child, created by Berlinghiero from the Italian Maniera Greca period, Madonna and Child created by Duccio during the Italian Proto-Renaissance, and Madonna and Child with Angels created Cosimo Rosselli during the Early Italian Renaissance periods. When a spectator observe these three Italian pictures, the spectator would acknowledge a development that takes topographic point through the three clip periods which is from the early 13th century to subsequently 15th century. Differences in these three pictures include the illustrations of the figures, curtain manner, intervention of infinite, and inclusion or the exclusion of the spectator. However, the pictures represent similar spiritual and cultural values since they all depict the Christian iconography of the Virgin Marry with babe Jesus. “ Madonna and Child ” is a really common Christian iconography that was seen through history since the Byzantine Empire.
The picture Madonna and Child was painted around 1230 during the Italian Maniera Greca period by Berlinghiero, “ the outstanding painter of the thirteenth-century Lucca ” ( Museum Label ) . This picture is tempera on wood with the two figures on forepart of a gold background. Madonna is have oning a immense dark bluish cloak with aureate ornaments which covers most of her organic structure and a ruddy frock underneath the cloak that can merely be seen in her weaponries. To demo her modesty the lone things that can be seen from her organic structure are her face, cervix, and custodies. Her face shows a down feeling with the lines around her eyes and her little oral cavity that depicts a scowl. Her manus has an unrealistic expression which are elongated and scraggy. Harmonizing to the Museum label, “ Berlinghiero was ever unfastened to Byzantine influence, and this Madonna is of the Byzantine type known as the Hodegefria, in which the Madonna points to the kid as the manner to redemption. ” The Hodegefria illustrate the Christian values and the value of the Byzantine art. The Child is have oning an orange Clock that covers most of his organic structure. He is seated on top of one of his female parents custodies with his organic structure tilted towards his female parent and his caput confronting the spectator. One of his manus points towards the right and in the other manus he is keeping a coil that represent the spiritual Bibles, which carries a Christian iconography in which the Bibles represents the bible. Thought his is suppose to be a kid his face is an grownup like face, which besides can be a spiritual iconography that show Jesus as a mature kid who leads people to redemption.
Berlinghiero ‘s Madonna and Child is inorganic and unrealistic when it comes to the curtain of the vesture and the intervention of infinite. The figures are besides set in an awkward manner with inorganic manner of the organic structure. There are many creases in the figures apparels which extreme for a realist frock. The intervention of infinite is losing in this picture, where the figures seem to be level and the light beginning is non clear in picturing the infinite and atmosphere. This picture is similar in its curtain and intervention of infinite to the picture Madonna and Child Enthroned with Angels which is from the same clip period. Thought the picture is unrealistic, it is still considered as a really great artistic work that depicts cultural and spiritual values of that clip.
Duccio ‘s Madonna and Child was created during the Italian Proto-Renaissance around 1300. Like the Berlinghiero ‘s picture, Duccio ‘s picture is tempera on wood with aureate background. Furthermore, Madonna is have oning a bluish cloak with aureate lines on the borders which covers most of her organic structure. Madonna is looking at the Child who is seeking to play with her cheques and keeping him with both of her custodies. She seems to hold a sad expression with her atilt caput towards her kid. The Child or Jesus is besides have oning an orange frock with a ruddy cloak over his shoulders. Compare to the kid from Berlinghiero ‘s picture, Duccio ‘s kid is looks more like a normal kid. We can see that the word picture of the kid has developed to a more realistic and organic 1. In this picture non merely does the kid looks realistic in his facial features but with his infantile motion while playing with his female parent cheques. The curtain manner is more organic than that of Berlinghiero but is non wholly realistic. It has a really heavy and crude feeling with its immense curves and furrows. This picture besides lacks the accents of infinite, since the figures looks like level on the aureate background. This picture can be compared with Giotto ‘s troubling Madonna Enthroned with Angels and Saints, which is from the same clip period, where we can see similar curtain manner and facial features of the kid. Furthermore, this picture besides shows the numbering spiritual values of Italian art. This picture, like all the Madonna and Child pictures, has the Christian values.
The 3rd picture is the Early Italian Renaissance picture Madonna and Child with Angels by Cosimo Rosselli which dates about 1480 to 1482. Thought this picture is made of poster paint and gold on wood, it is much more complex than both of the other pictures. In this picture Madonna is dressed in a light ruddy fabric and a light bluish cloak natation over her caput and shoulders while the kid is shown nude, which is different than that of Berlingiero and Duccio ‘s pictures. The position of the figures is besides different ; Madonna is keeping the kid with both of her custodies to do him stand on top of a tabular array. Although, the kid ‘s organic structure is a small disproportionate, the organic structures of both figures are more organic and natural. The organic structures do non hold a longitude custodies and awkward faces like the other two pictures, which show the development in artistic design of the figures. Furthermore, Rosselli ‘s picture has a more developed curtain manner and infinite intervention. The curtain is more organic with ordinary looking furrows. The intervention of infinite is besides a batch more developed than the other two pictures. Since the other two pictures had the figures as if they are level, this picture is more organic because the spectator can experience like the figures are near while the background is seems far. This picture besides has a vanishing point that gives the painting the feeling of infinite.
As seen in the three pictures of the Madonna and Child, we can see that art develops through the old ages. Even thought the pictures of Madonna and Child carries the same spiritual cultural values, one can see how the manner of the picture alterations over periods of clip in its curtain manner, infinite intervention, figure ‘s features, and even the positions of the figures. As a consequence, we saw that the word picture of the Madonna and Child in the late 15th century is more complex and organic than that of the early 13th century.