Revelations in Relief: An Italo-Byzantine Panel with the Virgin and Child (original) (raw)

2010, The Journal of the Walters Art Museum 68/69

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The paper analyzes an Italo-Byzantine relief panel depicting the Virgin and Child, exploring its artistic features, historical context, and devotional significance. Through detailed examination of the panel's composition, color use, and materiality, the work highlights the evolving iconography that emphasizes Mary's grief over Christ's sacrifice. The analysis is complemented by references to literary parallels and the implications of the artwork's physical characteristics, suggesting a complex interaction between viewer and image.

Light Symbolism in Gentile da Fabriano’s Vatican Annunciation

2014

espanolGentile da Fabriano’s Annunciation in the Vatican Pinacoteca is one of the clearest and most interesting visualizations of a famous metaphor from Medieval hymn literature that compares Mary’s hymen to the glass of a window. The painting uniquely combines three elements: rays of light, a Gothic tracery window, and the shape of the window impressed on the Virgin’s body. Gentile’s painting is the culmination of a development in Tuscan art that can be traced back at least until about 1370. This makes it part of an Italian tradition of visualizing the so-called ut vitrum metaphor that must antedate analogous examples from Flemish art. espanolLa Anunciacion de Gentile da Fabriano en la Pinacoteca Vaticana es una de las visualizaciones mas claras e interesantes de una famosa metafora extraida de la literatura himnica medieval que compara el himen de Maria al cristal de una ventana. La pintura combina de forma unica tres elementos: los rayos de luz, una ventana de traceria gotica, y ...

Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque

Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.

Magdalene's Iconography

Mary Magdalene's iconography, between red passion and dark melancholy, critically revisited in the history of art and within the cultural context of the times.

On the Depiction of the Madonna and the Christ in Renaissance Paintings

Given the overall Renaissance movement towards increased realism in painting, if a celebrated Renaissance artist depicted only Jesus or the Madonna in disproportionate size or with some other manner of unrealism, it was most likely a conscious decision rather than a lack of knowledge or talent. Assuming that such unrealism was a conscious decision, this paper speculates on the ideological motivations for continuing this medieval practice, and the motivations for its eventual discontinuance. A number of Renaissance paintings are cited in support of the thesis. The medieval practice eventually dissipated. This paper analyzes an example of the realistic depiction of Christ and the Madonna by a Renaissance painter; specifically, this paper analyzes Correggio’s The Virgin in Adoration of the Child.

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