Florentine painter and architect Giotto di Bondone (1267-1337) painted many Christian images of the "Madonna and Child". However, this blog will focus on the central panel of a polyptych in which the "Madonna and Child" is depicted. Painted between 13010 and 1315 (some argue that it was made between 1320 and 1330), Giotto used tempera on a poplar panel. Tempera, or egg-tempera, is a painting medium that consists of mixing color pigment with egg yolk, creating a fast-drying and permanent paint-like substance. The whole panel mesures 128.3 x 72.1 x 5.1 cm (50 1/2 x 28 3/8 x 2 in).
As previously mentioned, the depiction of the "Madonna and Child" is the central part of a five- section polyptych. The whole image is influenced by the Byzantine style of painting, where the images were usually very flat, stiff, and inhuman. The background is made of gold leaf, representing the realm of heaven. Furthermore, two gold and very detailed halos surround the heads of Mary and Jesus, revealing their sanctity and holiness. In the Madonna's right hand is a white flower, which symbolizes both Mary's purity and the innocence lost through the Original Sin.
Even though Giotto was inspired by the Byzantine style, there is nothing Byzantine about the way the two characters are depicted. Giotto used a new naturalistic approach with painting and was able to capture a humanistic representation of the Madonna and Child. Firstly, Mary is not in a complete frontal pose. Her body is slightly turned to the side, towards Jesus. Her face is contoured by shadows and color, bringing about her a certain liveliness. Her blue tunic, which represents the heavens and divinity, moves with her due to the many folds and the great use of shadows. Even though her head and body are slightly turned to the side, her eyes are looking straight ahead, pulling in the viewer. It is as if to say,
"I have my eye on you. I will protect you".
As for Jesus, Giotto did not depict him in his usual frontal pose with his hand up in blessing. Instead, the painter gave him a child-like quality by painting him grasping his mother's left index while reaching for the flower that Mary holds, as would any child do. Furthermore, Jesus has the hint of a smile on his face, showing expression and liveliness. His tunic is also painted with minute detail.
Overall, this Byzantine influenced panel of the Madonna and Child shows great detail and a human interaction between a mother and her child, showing Giotto's talent and innovative new trends in painting.
The panel now resides at the National Gallery of Art in Washington.
Sources:
"Madonna and Child". National Gallery of Art, 2016. http://www.nga.gov/content/ngaweb/Collection/art-object-page.397.html#
"Madonna and Child by Giotto di Bondone". Web Gallery of Art, 2015. http://www.wga.hu/html_m/g/giotto/z_panel/3polypty/10polypt.html
As previously mentioned, the depiction of the "Madonna and Child" is the central part of a five- section polyptych. The whole image is influenced by the Byzantine style of painting, where the images were usually very flat, stiff, and inhuman. The background is made of gold leaf, representing the realm of heaven. Furthermore, two gold and very detailed halos surround the heads of Mary and Jesus, revealing their sanctity and holiness. In the Madonna's right hand is a white flower, which symbolizes both Mary's purity and the innocence lost through the Original Sin.
Even though Giotto was inspired by the Byzantine style, there is nothing Byzantine about the way the two characters are depicted. Giotto used a new naturalistic approach with painting and was able to capture a humanistic representation of the Madonna and Child. Firstly, Mary is not in a complete frontal pose. Her body is slightly turned to the side, towards Jesus. Her face is contoured by shadows and color, bringing about her a certain liveliness. Her blue tunic, which represents the heavens and divinity, moves with her due to the many folds and the great use of shadows. Even though her head and body are slightly turned to the side, her eyes are looking straight ahead, pulling in the viewer. It is as if to say,
"I have my eye on you. I will protect you".
As for Jesus, Giotto did not depict him in his usual frontal pose with his hand up in blessing. Instead, the painter gave him a child-like quality by painting him grasping his mother's left index while reaching for the flower that Mary holds, as would any child do. Furthermore, Jesus has the hint of a smile on his face, showing expression and liveliness. His tunic is also painted with minute detail.
Overall, this Byzantine influenced panel of the Madonna and Child shows great detail and a human interaction between a mother and her child, showing Giotto's talent and innovative new trends in painting.
Sources:
"Madonna and Child". National Gallery of Art, 2016. http://www.nga.gov/content/ngaweb/Collection/art-object-page.397.html#
"Madonna and Child by Giotto di Bondone". Web Gallery of Art, 2015. http://www.wga.hu/html_m/g/giotto/z_panel/3polypty/10polypt.html
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