The Virgin Mary

Paper Summary:

Gaugin's "Ia Orana Maria" and Reni's "The Immaculate Conception" are two very different representations of the Virgin Mary. The paper explains that by utilizing more classical composition techniques, smooth, curving lines and rich, strong colors, Reni portrays Mary as an idealized version of Baroque femininity in a heavenly setting. It shows, in contrast, how Gauguin adheres to the primitive tradition, illustrating Mary as a native woman, a naked Christ child set on her shoulders. His use of asymmetrical composition in a cluttered, unplanned scene provides a feeling of energy and naturalism, a striking contrast to the serenity of Reni's work. The paper shows therefore that in illustrating the Virgin Mary in their works, each painter adheres to the very different sensibilities of their time periods.

From the Paper:

"Paul Gaugin's "Ia Orana Maria," translated as "Hail Mary," treats a similar subject matter, in that it illustrates the Virgin Mary with adoring attendants. However, this is not the Mary of the Immaculate Conception, but with Christ who is perched upon her shoulders. Painted in the post-impressionist genre known as Arcadia, which exemplifies scenes of blissful simplicity and retreat from the complex, this work was completed in 1891 and hangs in the Metropolitan Museum in New York. It is not a large work, only 44 inches by about 36 inches. In keeping with its primitive tradition, and in stark contrast to "The Immaculate Conception," the composition is highly asymmetrical, with the central Mary figure set off to the right of the picture. The poses are unstudied, casual and almost accidental, with Mary and the Christ child looking at the viewer, and the two prayerful, adoring native women gazing at them. This casual approach may be an attempt of Gauguin to emphasize the "naturalness" of the scene, despite the obviously supernatural halos."

More papers on The Virgin Mary:

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• Term Paper # 105261 : "The Virgin Birth"

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