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The Madonna of humility by Domenico di Bartolo 1433 has been described as one of the most innovative devotional images from the early Renaissance [35]. Catholic Marian art has expressed a wide range of theological topics that relate to Mary, often in ways that are far from obvious, and whose meaning can only be recovered by detailed scholarly analysis.
In paintings, Mary is traditionally portrayed in blue. This tradition can trace its origin to the Byzantine Empire , from circa 500 AD, where blue was "the color of an empress". A more practical explanation for the use of this color is that in Medieval and Renaissance Europe , the blue pigment was derived from the rock lapis lazuli , a stone ...
While the Italian term Madonna paralleled English Our Lady in late medieval Marian devotion, it 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 ...
Mary, Untier of Knots or Mary, Undoer of Knots is the name of both a Marian devotion and a Baroque painting (German: Wallfahrtsbild or Gnadenbild) which represents that devotion. The painting by Johann Georg Melchior Schmidtner , of around 1700, is in the Catholic pilgrimage church of St. Peter am Perlach , otherwise known as the Perlach Church ...
The Madonna del Rosario, c. 6th century, (70.2 x 40.5 cm). The Madonna del Rosario is an icon of Mary commonly dated to the sixth century or earlier. [1] It is an early version of a type of icon known as the Agiosoritissa or the Maria Advocata, in which Mary is depicted without the Christ Child, with both hands raised.
As Mater Dolorosa, it is also a key subject for Marian art in the Catholic Church. The Seven Sorrows of Mary are a popular religious theme and a Catholic devotion. In common imagery, the Virgin Mary is portrayed sorrowful and in tears, with one or seven swords piercing her heart, iconography based on the prophecy of Simeon in Luke 2:34–35.