This paper analyzes the formal, iconographic, and historical themes in the work 'Madonna and Child' by Duccio di Buoninsegna.
Written in 2008; 1,162 words; 5 sources; APA; $ 40.95
Paper Summary:
In this article, the writer discusses the painting 'Madonna and Child' by Duccio di Buoninsegna. The writer notes that the Italian formalization of the Gothic style was implemented within the medium and stylistics of this medieval painting. The writer points out that Buoninsegna's style was part of the Sienese School, which held to the non-passive dictates of religiosity within the Christian iconography in the 13th and 14th centuries. The writer maintains that Buoninsegna was influential in creating a non-passive baby Jesus, which helped to transform the way that the Madonna and Child had been perceived earlier in Christine art. In essence, the formal, iconographic, and historical facets of 'Madonna and Child' by Duccio di Buoninsegna are analyzed in this study.
From the Paper:
"The medium of the painting is the common usage of tempera on wooden panels. In the late medieval style it was common to use this form of paint to help bring about a lush and thick layer-based type of paint to bring out the varying contrasting hues. Also, the painting uses gold to help bring about the divine sunlight or religious light of Jesus, as he is reaching toward his mother's face. Mary is draped in a black gown as she looks down upon her divine child. Gold inner-fabric is surrounding her face, as the artist is clearing defining a demarcation of her face in contrast with her dark hood, as she is gazing downward in majesty. The composition has Mary centered in the painting, but has the baby Jesus set off the lower right side."
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