Ognissanti Madonna
Encyclopedia
Madonna Enthroned, also known as the Ognissanti Madonna, is a painting by the Italian late medieval artist Giotto di Bondone
, housed in the Uffizi Gallery of Florence, Italy. It is generally dated to around 1310. The painting has a traditional Christian
subject, representing the Virgin Mary and the Christ Child seated on her lap, with saints surrounding the two. It is celebrated often as the first painting of the Renaissance
, due to its newfound naturalism and escape from the constraints of Gothic art
.
. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti
's autobiography, I Commentarii (1447). An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.
One of Giotto's later works, Madonna Enthroned was completed in Florence
, upon the artist's return to the city. It was originally painted for the Ognissanti Franciscan church in Florence. Built for the Humiliati
, a small religious order at the time, the church had many acclaimed paintings designed for it. Specifically, Giotto's Madonna Enthroned was designed for the high altar.
The subject matter of this painting is a traditional, religious one, with the Virgin Mary, or Madonna, holding the Christ Child on her lap. Saints and angels surround the Madonna on all sides. This particular representation of the Virgin is called a Maestà
, a popular representation at the time.
Giotto's figures however escape the bounds of Byzantine art. His figures are weighty and are reminiscent of three-dimensional sculptures, such as that in classical Roman sculpture. The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration. This use of marble was a style that ended in the early Christian time period, and thus gives a clue that Giotto was knowledgeable of art of that time period.
There were, additionally, a number of specific artists whose styles heavily influenced The Ognissanti Madonna. The influence of Cimabue
, traditionally recognized as Giotto's teacher, is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject in his 1280 Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes. Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.
The tranquility of Giotto's figures resembled also the style of Pietro Cavallini
. From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.
Lastly, Giotto took cues from many contemporary sculptors, including Nicola
and Giovanni Pisano
, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.
's Virgin and Child Enthroned, there is the use of gold tracing to delineate the folds of the fabric. In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric. Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.
Giotto employs the technique of chiaroscuro
, or the use of contrasts of light to achieve a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci
and later Renaissance artists.
Giotto di Bondone
Giotto di Bondone , better known simply as Giotto, was an Italian painter and architect from Florence in the late Middle Ages...
, housed in the Uffizi Gallery of Florence, Italy. It is generally dated to around 1310. The painting has a traditional Christian
Christian
A Christian is a person who adheres to Christianity, an Abrahamic, monotheistic religion based on the life and teachings of Jesus of Nazareth as recorded in the Canonical gospels and the letters of the New Testament...
subject, representing the Virgin Mary and the Christ Child seated on her lap, with saints surrounding the two. It is celebrated often as the first painting of the Renaissance
Renaissance
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historical era, but since the changes of the Renaissance were not...
, due to its newfound naturalism and escape from the constraints of Gothic art
Gothic art
Gothic art was a Medieval art movement that developed in France out of Romanesque art in the mid-12th century, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, but took over art more completely north of the Alps, never quite effacing more classical...
.
History
While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto. There are many sources that show Giotto spent many years living and creating in FlorenceFlorence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti
Lorenzo Ghiberti
Lorenzo Ghiberti , born Lorenzo di Bartolo, was an Italian artist of the early Renaissance best known for works in sculpture and metalworking.-Early life:...
's autobiography, I Commentarii (1447). An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.
One of Giotto's later works, Madonna Enthroned was completed in Florence
Florence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
, upon the artist's return to the city. It was originally painted for the Ognissanti Franciscan church in Florence. Built for the Humiliati
Humiliati
The Humiliati were an Italian religious order of men formed probably in the 12th century. It was suppressed by a Papal bull in 1571 though an associated order of women continued into the 20th century.-Origin:Its origin is obscure...
, a small religious order at the time, the church had many acclaimed paintings designed for it. Specifically, Giotto's Madonna Enthroned was designed for the high altar.
The subject matter of this painting is a traditional, religious one, with the Virgin Mary, or Madonna, holding the Christ Child on her lap. Saints and angels surround the Madonna on all sides. This particular representation of the Virgin is called a Maestà
Maestà
Maestà, the Italian word for "majesty", designates an iconic formula of the enthroned Madonna with the child Jesus, whether or not accompanied with angels and saints...
, a popular representation at the time.
Influences
The Madonna Enthroned show the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flattened gold background, Giotto's art continued the traditional Italo-Byzantine style so popular in the proto-Renaissance time period. The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures however escape the bounds of Byzantine art. His figures are weighty and are reminiscent of three-dimensional sculptures, such as that in classical Roman sculpture. The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration. This use of marble was a style that ended in the early Christian time period, and thus gives a clue that Giotto was knowledgeable of art of that time period.
There were, additionally, a number of specific artists whose styles heavily influenced The Ognissanti Madonna. The influence of Cimabue
Cimabue
Cimabue , also known as Bencivieni di Pepo or in modern Italian, Benvenuto di Giuseppe, was an Italian painter and creator of mosaics from Florence....
, traditionally recognized as Giotto's teacher, is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject in his 1280 Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes. Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.
The tranquility of Giotto's figures resembled also the style of Pietro Cavallini
Pietro Cavallini
Pietro Cavallini was an Italian painter and mosaic designer working during the late Middle Ages. Little is known about his biography, though it is known he was from Rome, since he signed pictor romanus....
. From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.
Lastly, Giotto took cues from many contemporary sculptors, including Nicola
Nicola Pisano
Nicola Pisano was an Italian sculptor whose work is noted for its classical Roman sculptural style. Pisano is sometimes considered to be the founder of modern sculpture.- Early life :His birth date or origins are uncertain...
and Giovanni Pisano
Giovanni Pisano
Giovanni Pisano was an Italian sculptor, painter and architect. Son of the famous sculptor Nicola Pisano, he received his training in the workshop of his father....
, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.
Technique
Giotto's painting was the first artist to depict three-dimensional figures in western European art. Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting. Within CimabueCimabue
Cimabue , also known as Bencivieni di Pepo or in modern Italian, Benvenuto di Giuseppe, was an Italian painter and creator of mosaics from Florence....
's Virgin and Child Enthroned, there is the use of gold tracing to delineate the folds of the fabric. In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric. Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.
Giotto employs the technique of chiaroscuro
Chiaroscuro
Chiaroscuro in art is "an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted"....
, or the use of contrasts of light to achieve a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci
Leonardo da Vinci
Leonardo di ser Piero da Vinci was an Italian Renaissance polymath: painter, sculptor, architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist and writer whose genius, perhaps more than that of any other figure, epitomized the Renaissance...
and later Renaissance artists.
Sources
- Beckett, Sister Wendy and Patricia Wright. Sister Wendy’s 1000 Masterpieces: Sister Wendy Beckett’s Selection of the Greatest Paintings in Western Art. New York: Dorling Kindersley, 1999. Print.
- Greenspun, Joanne, ed. History of Art. Abrams: New York, 1997. Print.
- Turner, Jane, ed. The Encyclopedia of Italian Renaissance and Mannerist Art, Vol. 1. London: Macmillan Reference, 2000. Print.