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The tempera medium shows great resiliency through the centuries and the Portrait is in surprisingly good condition.
Total Effect
The total effect of Duccio's Madonna and Child is obviously much different from Fra Filippo's Portrait of Woman. The total effect of Duccio's Madonna is one of bold religious feeling. It inspires the viewer to accept the mythology and challenges him to understand his relationship to the God-child and His Mother. The effect certainly inspires religious feelings and thoughts. It is dignified, spiritual, and affirmative.
The total effect of Fra Fillipo's Portrait is one of awe and human respect. The viewer is invited to feast his eyes on the gorgeous dress of the woman. He is asked to admire her jewelry and her beauty and her riches. There is serenity in the Portrait but there is no reference to spirituality or anything transcendent. The total effect is one in which materialistic goods, wealth, and stature are affirmed.
In conclusion, the two paintings by Duccio and Fra Filippo Lippi produce to different sensations. The former depicts a traditional religious subject but draws the viewer...
The latter depicts a woman's wealth and asks the viewer to admire and take note of the great standing of her and her family's house.
Works Cited
Portrait of Woman with a Man at a Casement, Gallery Label. NY: Metropolitan
Museum of Art, 2011.
Madonna and Child, Gallery Label. NY: Metropolitan Museum of Art, 2011.
Strutt, E.C. Fra Filippo Lippi. London: George Bell & Sons, 1901. Print.
Vasari, G. Lives of Seventy of the Most Eminent Painters, Sculptors, and Architects,
Volume 1. NY: Charles Scribner's Sons, 1907. Print.
Madonna and Child, Gallery Label (NY: Metropolitan Museum of Art, 2011).
Giorgio Vasari, Lives of Seventy of the Most Eminent Painters, Sculptors, and Architects, Volume 1 (NY: Charles Scribner's Sons, 1907), 146.
Portrait of a Woman with a Man at a Casement, Gallery Label (NY: Metropolitan Museum of Art, 2011).
Edward C. Strutt, Fra Filippo Lippi (London: George Bell & Sons, 1901), 6.
Works Cited
Portrait of Woman with a Man at a Casement, Gallery Label. NY: Metropolitan
Museum of Art, 2011.
Madonna and Child, Gallery Label. NY: Metropolitan Museum of Art, 2011.
Strutt, E.C. Fra Filippo Lippi. London: George Bell & Sons, 1901. Print.
Art Both Duccio di Buoninsegna and Fra Filippo Lippi paint the Christian Madonna and child scene. Lippi's "Madonna and Child Enthroned with Two Angels" is rendered on wood with tempera and gold leaf. It is rounded at the top, and was the center part of a triptych that was completed in about the year 1440.[footnoteRef:1] Also in tempera and gold leaf on wood is di Buoninsegna's "Madonna and Child." Candle damage
Botticelli's Birth Of Venus And Duccio's Maesta The representation of women in Western art has changed throughout history, and for much of Western history this representation was oriented around the dominant female figure in contemporary society; that is, Mary, mother of Jesus. However, the gradual shift away from a dominantly monotheistic cultural hegemony seen in the Renaissance and eventually the Enlightenment brought with it new (and the case of this study,
Art The shift from Byzantine or Medieval art to the early Renaissance is perfectly demonstrated by examining the change in depictions of the Virgin Mary and the baby Jesus, or Madonna and Child, over time. What we see is a gradual tendency toward realistic depictions of human form, as a way of making religious art less remote and decorative, and more immediately related to actual human experience. We can begin with