Madonna and Child (Masaccio)
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| Artist | Masaccio |
|---|---|
| Year | 1426 |
| Type | Tempera on Panel |
| Dimensions | 135,5 cm × 75 cm |
| Location | National Gallery, London |
The Madonna with Child and Angels is a painting by the Italian Renaissance painter Masaccio, who worked in collaboration with his brother Giovanni and with Andrea di Giusto.
The painting is the central panel of a large, 19 piece winged altar executed for a chapel of the notary Giuliano di Colino in the church of Carmelite Church in Pisa. Ten other panels of the altarpiece are in various museums.
The painting contains 6 figures, the Madonna and child and 4 angels. The Madonna is the centre figure and is larger than any of the others to signify her importance. The work is symmetrical. The painting is a step away from International Gothic in the sense that Masaccio has created a more realistic approach to the subject.
The faces are more realistic and not idealised.
The baby Jesus is less of a small man and more child like.
An attempt at creating depth has been attempted by Massacio's placement of the two background angels.
Chiaroscuro is clearly visible as the light source is coming from the left of the painting.
The Madonna's drapery is more linear and the folds are smaller and more realistic, shaping her body.
Masaccio has used mathematical perspective to create pictorial space; it can be seen on the orthogonal on the cornice of her throne. The vanishing point is at the childs foot. The reasoning being that the work was originally located above Masaccios Adoration of the Magi. In the Adoration a man kisses Jesus' foot. Athough the paintings are noticabley different (the subjects are clothed differently and on different chairs)Madonna is more or less in the same position in both works. This is designed to make us have the same attitude as the magus (the man which kisses Jesus' foot) when looking at the Madonna and Child. We are imagined to be kneeling in front of Mary, and could easliy lean foward to kiss the foot of Jesus.
The Masaccio has also used the overlapping of figures and objects to create pictorial space, like the two angels in the foreground overlapping the throne and the throne overlapping the two angels in the background. The Christ child sits in the Virgin's lap eating grapes from her hand. The grapes are a symbol of Christs blood - like the Red Wine of the Covenant - and this symbolises Christ's awareness of his impending death. The Madonna looks sorrowfully at her child, as she also realises his fate.
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