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However, what is most relevant to the Byzantine heritage of the Madonna is twofold. First, the earliest surviving independent images of the Virgin Mary are found in Rome, the center of Christianity in the medieval West. One is a valued possession of Santa Maria in Trastevere, one of the many Roman churches dedicated to the Virgin Mary.
Giotto's figures, however, escape the bounds of Byzantine art. His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture. The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.
Madonna of Constantinople was a very common name for art affiliated with Constantinople. Italian Renaissance patrons preferred the works of Greek Byzantine masters from Constantinople. Constantinople and Thessaloniki were the epicenters of Greek Byzantine painting and the palaeologan renaissance.
The Black Madonna of Częstochowa, Poland Black Madonna of Outremeuse, Liège, in a procession Black Madonna of Guingamp Madonna at House of the Black Madonna, Prague. The term Black Madonna or Black Virgin tends to refer to statues or paintings in Western Christendom of the Blessed Virgin Mary and the Infant Jesus, where both figures are depicted with dark skin. [1]
The Greek Madonna of Ravenna. The Greek Madonna (Madonna Greca in Italian) is a Byzantine marble bas-relief sculpture of the Virgin Mary in Ravenna - she is patron saint of the city, the Roman Catholic Archdiocese of Ravenna-Cervia and the Vicariate of the Sea (Vicariato del Mare).
The Cambrai Madonna, also called the Notre-Dame de Grâce, produced around 1340, is a small Italo-Byzantine, possibly Sienese, [1] replica of an Eleusa (Virgin of Tenderness) icon. The work on which it is based is believed to have originated in Tuscany c. 1300 , and influenced a wide number of paintings from the following century as well as ...
The Madonna di Sant’Alessio is a fine and early example of the iconography of the Haghiosoritissa type (Paraklesis). The Icon of the "Madonna di Sant’Alessio" is thought to have been painted in Byzantium. It was painted with tempera on canvas. The cloth was pasted on a wooden board (probably of cedar) measuring 70 x 40 cm.
Byzantine iconography reappears in that blue mantle, but only for decorative purposes—a serene addition to the ample folds. The golden highlights from Damascening suggest the fluid touch of light on the Madonna's mantle and the clothing of Jesus. And the facial chiarascuro creates more effective contrast.