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The Salus Populi Romani icon, overpainted in the 13th century, but going back to an underlying original dated to the 5th or 6th century Madonna and Child by Filippo Lippi (15th century) In Christian art, a Madonna (Italian:) is a religious depiction of the Blessed Virgin Mary in a singular form or sometimes accompanied by the Child Jesus.
The faces of the Virgin and Child were scraped and repainted in the early 14th century in the manner of Duccio and so are not representative of Guido's original. A dossal featuring the Virgin and Child with four saints (accession No. 7) in the Siena Pinacoteca has an identical inscription, but unfortunately the name before "de Senis" has been ...
The portable panel painting was not a usual form in the West before this, [20] though a few Byzantine examples had arrived, and were often highly revered, and a few had been locally produced, like the possibly 7th-century Madonna della Clemenza. The 13th century also saw a great increase in devotions to the Virgin Mary, led by the Franciscan ...
Coppo di Marcovaldo is one of the better-known Duecento artists and is the first Florentine artist whose name and works are well documented. [2] One of the earliest references to Coppo is found in the Book of Montaperti where his name is listed amongst Florentines soldiers for the war with Siena, which ended at the Battle of Montaperti on September 4, 1260. [3]
The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence.
Madonna and Child was painted by one of the most influential artists of the late 13th and early 14th century, Duccio di Buoninsegna.This iconic image of the Madonna and Child, seen throughout the history of western art, holds significant value in terms of stylistic innovations of religious subject matter that would continue to evolve for centuries.
The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures. [2] Giotto's figures, however, escape the bounds of Byzantine art.
An enamel plaque on the processional Cross of Mathilde, showing an image of the donor together with Mary, Seat of Wisdom. This type of Madonna image is based on the Byzantine prototype of the Chora tou Achoretou ("Container of the Uncontainable"), [5] an epithet mentioned in the Acathist Hymn and present in the Greek East by the early 11th century, when the Byzantine-inspired enamels were made ...