Europe 1300 - 1800
- Siena in the Late Gothic, an introduction
- Duccio, Maestà
- Duccio, Maestà (quiz)
- Duccio, The Rucellai Madonna
- Duccio, Rucellai Madonna (quiz)
- Duccio, The Virgin and Child with Saints Dominic and Aurea
- Ambrogio Lorenzetti, Palazzo Pubblico frescos: Allegory and effect of good and bad government
- Lorenzetti, Allegory and Effect of Good and Bad Government (quiz)
- Lorenzetti, Presentation of Jesus in the Temple
- Pietro Lorenzetti, Birth of the Virgin
- Simone Martini, Saint Louis of Toulouse
- Simone Martini, Maesta
- Simone Martini, Annunciation
- Simone Martini's Annunciation (quiz)
- Siena in the 1300s
Duccio, The Virgin and Child with Saints Dominic and Aurea
Duccio di Buoninsegna, The Virgin and Child with Saints Dominic and Aurea, c. 1315, tempera on wood, 42.5 x 34.5 cm (National Gallery, London). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
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- Why is Mary's face green?(12 votes)
- I think it may also be a result of paint oxidation over time, as is the case with some other Madonnas of comparable age.(4 votes)
- How could King David be an ancestor of Christ (at0:51)? He was Joseph's ancestor, not Mary's.(4 votes)
- He was an ancestor of them both. As Jesus's stepfather, Joseph's lineage back to David was important, but as his mother, Mary's lineage also had to be of the line of David. The Bible lists both genealogical lineages in the New Testament.(13 votes)
- Do they not know how to paint a baby? Christ looks so old(4 votes)
- It is meant to represent his maturity. He is supposed to have the knowledge of a grown man even though he is an infant. This is just a symbolic way of showing that, often used during this time period.(8 votes)
- Does anyone know why Duccio repeats the gold flower on Mary's shoulder and head (garment), in his portrayal of her? What do they represent and why are they placed in those two specific positions? This appears in his other works, so it sparks my curiosity.(4 votes)
- I was told at a class on icons some years ago, that the star to Jews refers to "Messiah" and Mary's icons usually have stars on her head, both shoulders (where visible) and on the foot (where appliable and visible) in the icon, representating a cross.
But don't quote me on that as I may have gotten it wrong.
Every thing on the icon or painting is so full of symbols and represents something, that is why they are so interesting, in addition to being so beautiful.(7 votes)
- Are there paintings on the outside of the wings of the altarpiece as well?(3 votes)
- I wondered about the same, but I think that then they would have mention it.(1 vote)
- the documentary "Islam: Empire of Faith" by PBS and narrated by ben kingsley states at1:33:52 that the islamic inscription known as the shahada (there is no god but allah and muhammad is his prophet) is written around her neck in arabic. please address this in detail as it is driving my classes of 160 students (combined with my co-teacher) crazy!(2 votes)
- Check this out: https://en.wikipedia.org/wiki/Mongol_elements_in_Western_medieval_art
Bascially, during the 13th/14th century, Western artists would often draw a pseudo-Arabic or pseudo-Mongolian script around the hems of their subjects. This is because "it seems Westerners believed 13–14th century Middle-Eastern scripts (such as Mongol and Arabic) to be the same as the scripts current during Jesus's time, and thus found it natural to represent early Christians in association with them." I think what you are talking about is probably pseudo-Arabic.
However, I personally don't see it, even when I zoomed up: https://classconnection.s3.amazonaws.com/1579/flashcards/280301/jpg/duccio-madonna.jpg(3 votes)
- Is it just me, or is King David's portrayal almost Carolingian in nature? It seems much more in line with Germanic royalty of the time, such as the Holy Roman Emperor, than ancient Judean Monarchy.(1 vote)
- They did this to make the visual connection between the past and the present. Since lay people had no idea what ancient judaic kings wore, they had to anchor the visual in something they knew.(3 votes)
- In so many paintings of Mary she is wearing blue clothes painted with pigments from Lapis Lazuli. Most often the colour have darkened over the years, leaving it almost black. In this one the blue drape is really strong in colour. Is this the original blue colour Mary was pictured with in all the other paintings as well, in other words: is this the same Lapis Lazuli?(2 votes)
- Yes, I also would like to know it, for me it looks completely differently, if it is the original colour, I didn't expect it to be so bright!(1 vote)
- Unlike the Maesta, the Rucellai Madonna and the Metropolitan's Madonna and Child, the blue of Mary's robe here is still "blue" to me. Could this be because the tryptych was kept closed most of the time? Or is it possible that the paint was differently compounded?(2 votes)
- At0:15, how can one tell it's David?(1 vote)
- You can see to the right of the figure the remains of his name written on the background => (Da) vid.(2 votes)
SPEAKER 1: We're in the National Gallery in London, and we're looking at a really rare painting, a painting by Duccio. There are very few in the world. This is a Virgin and Child with Saints. It's got, at the top of it, a little teeny image of King David-- SPEAKER 2: From the Old Testament. SPEAKER 1: --and he is surrounded by Old Testament prophets, who are identified with their scrolls. SPEAKER 2: It's sort of standard iconography. And so you have the prophets who foretell the coming of Christ. And then, below here, we have a tryptich so that when the wings are open, Mary and Christ are revealed. So it's kind of wonderful in that you have the prophets at the top who are always there with King David. And then when the tryptich is open, the revealing of the truth of their prophecy-- SPEAKER 1: --comes to be. SPEAKER 2: Right. And King David was thought to be, or understood to be, an ancestor of Christ. SPEAKER 1: And is wearing a blue that relates directly to the blue that Mary wears. There is a kind of intimacy here that is absolutely revolutionary, and is the foundation of the Renaissance, later. Look at the way that the Christ child looks up really adoringly at his mother. SPEAKER 2: Sort of grabs hold of her veil to sort of make sure he sees her face. SPEAKER 1: And look at the delicacy of that veil. I think that's one of the most beautiful areas of this painting. The way in which he gathers her veil, in one hand-- SPEAKER 2: Yeah, it's very sweet. SPEAKER 1: --pulls on it with the other. And it creates this very soft, kind of arc between them, this bridge between them. Duccio is a Sienese artist, and certainly Duccio's work is characterized by the sensitivity to the decorative, both in the subtlety of color, but also in form. A kind of interest in the decorative for its own sake. And I think you really see that in the way that Christ pulls at the inner garment around Mary's neck and creates a series of really beautiful and rhythmic folds. SPEAKER 2: Yeah, and playful lines and curves that carry down around the golden hem of Christ's garment and Mary's garment. SPEAKER 1: You see it, also, in the rendering of Saint Aurea, who's a rare saint to be shown in paintings of this time, I think, of any time. And Saint Dominic on the left, as well. Both of those things are so direct. They seem to be almost stepping out of the picture plane. There's a sense of truthfulness, of veracity almost, that seems so precocious for this moment. SPEAKER 2: I think when we look, overall, at the painting, at this little altarpiece that would've been a private altarpiece for private devotion that someone could carry around if they moved and wanted to have the ability to worship and pray. So it's important to remember that this is an aid in prayer. But when we look at it, there's a real sense of the physical presence of the saints on either side, and of that emotional connection with Mary and her physical presence. So we're seeing the beginnings of this change to the Renaissance. SPEAKER 1: It's so interesting that Duccio is creating these connections which will lay the foundation for the Renaissance, which will come a century later. But at the same time, this is so firmly rooted, also, in the medieval tradition. And we're never very far from that. Not only do we have this broad gold fields, which are really representation of the divine light of heaven, there's no rational relationship between the figures, in terms of scale. And then, of course, there's that strong Byzantine influence still in the elongation of the nose, the [INAUDIBLE] of her fingers. Even as Duccio begins to explore the possibility of creating a more intimate and, I think, emotionally-charged rendering.