COMPARISON ASSIGNMENT: Mary OF THE MEADOW & A ; MADONNA ENTHRONED
The undermentioned paper is a comparing of Raphael & # 8217 ; s Madonna of the Meadow and Cimabue & # 8217 ; s Madonna Enthroned. Madonna of the Meadow was painted by Raffaello Sanzio, otherwise known as Raphael, in 1505. This clip period is known as the Italian Renaissance. The picture was oil on panel and stood 3 foot 8.5 in X 2 ft 10.25 in. It is now in the Kunsthistorisches Museum in Vienna, Italy ( Adams, 567 ) . Madonna of the Meadow is of a classical nature, which is really common of the clip period. A good illustration of this would be the bare characters used in the art. The medium used ( oil ) was besides being used really widely in Italy by this clip. It allowed the painter to do really realistic sunglassess and colourss. The figures and landscape in the picture besides looked really unstable and existent due to the usage of the oil pigment.
The iconography of the picture lies in the history of its celebrated characters. The three figures come from the Bible ; nevertheless, the creative person has taken some autonomies. The image contains the Virgin Mary, the babe Jesus and his 2nd cousin St. John the Baptist. The image foreshadows the decease of Christ on the cross. This point is displayed in the action of the picture where St. John is passing Jesus a little cross and Mary is looking upon it cognizing what is to come. There is a feeling of connexion between the three of them by the manner they are all looking at each other and the cross. Although I could happen no certification on this, I feel there is besides a symbol of the three in the three flowers to Mary & # 8217 ; s left side. The flowers are really prevailing and are connected to the figures in the picture by holding the same colour that is in the Virgin & # 8217 ; s shirt. It is besides speculated that the H2O in the background symbolizes the baptism of Jesus by John the Baptist. The fact that Mary is barefoot in the picture indicates that she is walking on sanctum land. This picture is among a series that has been called Madonna of the Lands because the Florentine countryside in the background is said to be under the protection of the Virgin, the Child and the infant Baptist. The Virgin Mary is besides joined to the landscape by her sloping shoulders which make a continuance of the cragged extremums of Florence in the background ( Hartt, 470 ) .
The placement and arrangement of the three scriptural characters are said to be in a Leonardesque-type pyramid ( Hartt, 470 ) . Raphael favored this manner and positioning from Leonardo DiVinchi. The airss of the three are really unagitated, relaxed and subdued. His overall manner of the picture was really realistic and smooth. The usage of visible radiation was really natural and soft with delicate tailing and a uninterrupted flow of the way of the sunshine. The scene is really broad and deep and his usage of atmospheric
position is really noticeable, leting the scene to go even more alive and credible to the oculus. The aura decorating the three are besides put into position by an egg-shaped form and by being really faint. The colourss and tones are really natural and soothing, much like the brushwork of the picture every bit good. The best description of the picture comes from our text edition Art Across Time saying that, Raphael’s manner is unagitated, harmonious, and restrained” .
In comparing, Madonna Enthroned has many differences although it contains two of the same characters. The picture is much larger holding a tallness of 12 ft 7 in and a breadth of 7 ft 4 in. It was designed about 200 old ages earlier than Madonna of the Meadow during the Byzantine Influence. It is presently being held in the Galleria degli Uffizi. Its medium besides differs rather much in that it is a poster paint on wood ( Adams, 452 ) . The poster paint does non let the picture to look as existent and every bit fluid as does the oil. The Christ kid is really much adult-like in his visual aspect and gestures, nil like the one in Raphael & # 8217 ; s picture. It is, nevertheless, really typical of the Byzantine manner as is the gold background and thin figures ( Adams, 450 ) . The figures in the picture are one time once more from the Bible. However, in this picture we besides have angels and four older work forces at the underside of the throne keeping coils. These work forces depict the four Prophetss of the Old Testament. The manner differs rather a spot from Madonna of the Meadow in that it is non as soft and realistic. The visible radiation does non look to come from one clear way and the semblance of infinite is slightly level and non-dimensional. A large difference is the visual aspect of the aura around the caputs. They are really level and non-realistic which is typical of the clip period, but really unlike the egg-shaped aura of Raphael & # 8217 ; s picture. The colourss are non as natural and realistic in that Cimabue used typical golds all through the picture. The figures are non relaxed and smooth as Raphael & # 8217 ; s. Their faces do, nevertheless, look unagitated and reticent, but the placement of the organic structures and looks are non unstable and natural. The figures besides seem much more confined and & # 8220 ; scrunched & # 8221 ; unlike the unfastened and free figures of Rafael. The brushwork besides seems tighter and less smooth about doing a really difficult border to the objects and figures of the art. The picture is, nevertheless, really balanced in the arrangement of the angels and the Prophetss around the Virgin and Christ. One facet of the picture that is rather interesting is the usage of the throne. It looks like the construction of a cathedral in an abstract manner, therefore binding Christ to the modern church.
Although both pictures are really different in many facets they are highly good representations of the Virgin Mary and babe Jesus. Despite their differences they still portray two really prevailing characters from the Bible and associate though they were created over 200 old ages apart.