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[[File:Rogier van der Weyden - Virgin and Child (Durán Madonna) - WGA25715.jpg|thumb|''Durán Madonna'', c. 1435-38. 100 cm × 52 cm. Oil on oak wood. [[Museo del Prado]], Madrid. Frame not pictured.]]
[[File:Rogier van der Weyden - Virgin and Child (Durán Madonna) - WGA25715.jpg|thumb|''Durán Madonna'', c. 1435-38. 100 cm × 52 cm. Oil on oak wood. [[Museo del Prado]], Madrid. Frame not pictured.]]


'''''Durán Madonna''''' (also known as '''''Virgin and Child in a Niche''''' or '''''Madonna in Red''''') is a oil on panel painted around 1435-38 by the [[Early Netherlandish painting|Netherlandish]] artist [[Rogier van der Weyden]]. The work shows [[Mary (mother of Jesus)|Mary]] dressed in a long red robe hoodiing a white head-dress, with the Child Jesus seated on her lap in a white cloth. He curiously and childishly leafs and crumbles the pages of a half open [[book of hours]] perched on her knee n ad helf open by her left arm. Mary's long robe swirls around the pictorial space, obscuring her throne and eventually falling on the unnaturally three dimentional perch at her feet<ref name="N146">Nosow, 146</ref> giving the disorientating impression that the figures are part of a [[relief]]. Mary and the child are framed by a sculpted [[Niche (architecture)|niche]] with gothic [[tracery]],<ref name="N145">Nosow, 145</ref> which holds an angel in dark clothes hovering above Mary and holding a crown. The curved arches of the niche echo the lines of Mary's figure as she bends over the child, adding to the unity and internal harmony of the work.<ref name="N145" />
'''''Durán Madonna''''' (also known as '''''Virgin and Child in a Niche''''' or '''''Madonna in Red''''') is a oil on panel painted around 1435-38 by the [[Early Netherlandish painting|Netherlandish]] artist [[Rogier van der Weyden]]. The work shows [[Mary (mother of Jesus)|Mary]] dressed in a long red robe hoodiing a white head-dress, with the Child Jesus seated on her lap in a white cloth. He curiously and childishly leafs and crumbles the pages of a half open [[book of hours]] perched on her knee n ad helf open by her left arm. Mary's long robe swirls around the pictorial space, obscuring her throne and eventually falling on the perch at her feet<ref name="N146">Nosow, 146</ref> whiches three dimentionaly gives the disorientating impression that the figures are part of a [[relief]]. Mary and the child are framed by a sculpted [[Niche (architecture)|niche]] with gothic [[tracery]],<ref name="N145">Nosow, 145</ref> which holds an angel in dark clothes hovering above Mary and holding a crown. The curved arches of the niche echo the lines of Mary's figure as she bends over the child, adding to the unity and internal harmony of the work.<ref name="N145" />


The painting is often compared to the artist's [[Miraflores Altarpiece]], both for the colourisation of Mary's dress and because its sculptural look is similar to the [[relief]]s found in that triptych. In addition, the underdrawing of Mary's head is strikingly similar to that of the kindly, idealised Madonna in his ''Portrait Diptych of Laurent Froimont'', now in the [[Musée des Beaux-Arts de Caen|Musée des Beaux-Arts]], [[Caen‎]].<ref>Hand et al, 259</ref> Because of these strong similaraties, attribution to van der Weyden is not doubted, although the work is known to have been fequently copied.<ref name="prado">"[http://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/virgin-and-child-1/ Virgin and Child]". [[Museo del Prado]]. Retrieved 13 July 2012.</ref><ref name="C50" /> The black background is a result of a later overpainting added at some known time. However, x-ray has not found any detail beneath the layer.<ref name="C50">Campbell, 50</ref>
The painting is often compared to the artist's [[Miraflores Altarpiece]], both for the colourisation of Mary's dress and because its sculptural look is similar to the [[relief]]s found in that triptych. In addition, the underdrawing of Mary's head is strikingly similar to that of the kindly, idealised Madonna in his ''Portrait Diptych of Laurent Froimont'', now in the [[Musée des Beaux-Arts de Caen|Musée des Beaux-Arts]], [[Caen‎]].<ref>Hand et al, 259</ref> Because of these strong similaraties, attribution to van der Weyden is not doubted, although the work is known to have been fequently copied.<ref name="prado">"[http://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/virgin-and-child-1/ Virgin and Child]". [[Museo del Prado]]. Retrieved 13 July 2012.</ref><ref name="C50" /> The black background is a result of a later overpainting added at some known time. However, x-ray has not found any detail beneath the layer.<ref name="C50">Campbell, 50</ref>

Revision as of 20:47, 13 July 2012

Durán Madonna, c. 1435-38. 100 cm × 52 cm. Oil on oak wood. Museo del Prado, Madrid. Frame not pictured.

Durán Madonna (also known as Virgin and Child in a Niche or Madonna in Red) is a oil on panel painted around 1435-38 by the Netherlandish artist Rogier van der Weyden. The work shows Mary dressed in a long red robe hoodiing a white head-dress, with the Child Jesus seated on her lap in a white cloth. He curiously and childishly leafs and crumbles the pages of a half open book of hours perched on her knee n ad helf open by her left arm. Mary's long robe swirls around the pictorial space, obscuring her throne and eventually falling on the perch at her feet[1] whiches three dimentionaly gives the disorientating impression that the figures are part of a relief. Mary and the child are framed by a sculpted niche with gothic tracery,[2] which holds an angel in dark clothes hovering above Mary and holding a crown. The curved arches of the niche echo the lines of Mary's figure as she bends over the child, adding to the unity and internal harmony of the work.[2]

The painting is often compared to the artist's Miraflores Altarpiece, both for the colourisation of Mary's dress and because its sculptural look is similar to the reliefs found in that triptych. In addition, the underdrawing of Mary's head is strikingly similar to that of the kindly, idealised Madonna in his Portrait Diptych of Laurent Froimont, now in the Musée des Beaux-Arts, Caen‎.[3] Because of these strong similaraties, attribution to van der Weyden is not doubted, although the work is known to have been fequently copied.[4][5] The black background is a result of a later overpainting added at some known time. However, x-ray has not found any detail beneath the layer.[5]

Art historian Lorne Campbell belives the work was influenced by Robert Campin's Frankfurt Virgin and Child both in its portrayal of idealised feminine beauty and its depiction of long crisply folded draperies to portray elegance. Campbell notes that both works are composed from strong diagonal lines, with the main figures pushed out into the center foreground, almost in an almost Trompe-l'œil manner.[6] The painting was acquired by Pedro Fernández-Durán in 1899 at the Palacio de Boadilla, Madrid. Fernández-Durán donated the work to the Museo del Prado in 1930.[5]

Notes

  1. ^ Nosow, 146
  2. ^ a b Nosow, 145
  3. ^ Hand et al, 259
  4. ^ "Virgin and Child". Museo del Prado. Retrieved 13 July 2012.
  5. ^ a b c Campbell, 50
  6. ^ Campbell, 19

Bibliography

  • Campbell, Lorne. Van der Weyden. London: Chaucer Press, 2004. ISBN 1-9044-9247
  • Hand, John Oliver; Metzger, Catherine; Spronk, Ron. Prayers and Portraits: Unfolding the Netherlandish Diptych. Yale University Press, 2006. ISBN 0-300-12155-5
  • Nosow, Robert. Ritual Meanings in the Fifteenth-Century Motet. Cambridge University Press, 2012. ISBN 0-5211-9347-8

External Links

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