Богородица и Младенец {2342}
Virgin and Child
While Duccio -- with his reliance on Byzantine traditions, flat planes, and decorative line -- can be said to sum up the past, Giotto was recognized even by his contemporaries as anticipating the future. Dante, Boccaccio, and Petrarch all praised his naturalism.
Giotto's panel, probably the central section of a five-part altarpiece, was painted late in his career.
The colors are sober and restrained.
Giotto di Bondone
Вашингтон: гал. Нац.
Washington: NGA
Изображение поясное с Младенцем на левой руке.
В правой руке Богородица держит белый цветок (розу).
Младенец правой рукой тянется к цветку, левой держит указательный палец левой руки БР.
Из-под одеяния видна стопа правой ноги и носок подогнутой правой.

Soft shadows model the Virgin and Child. We sense the weight and volume of Their bodies and feel the pull of gravity on Them.

We also sense that they are actors in a quiet drama. We are witnesses to the human interaction between a Mother and a Child. The Infant steadies Himself by grasping His Mother's finger and reaches -- like any baby -- for the flower She holds. This emphasis on the humanity of the participants is a departure from the devotional Byzantine tradition, as in the Gallery's Enthroned Madonna and Child, in which the infant Christ does not turn to His Mother, but rather offers a blessing to the worshiper.
Доска. Темпера.
Tempera on panel.
Икона имеет полукруглый верх с небольшими уступами по бокам.
Фон золотой.
Обрамление профилированное.
№ 1939.1.256.
предмет с изображением:
посвящённый предмет:
Virgin museum
Peter museum
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