Written Assignment #4 - Essay Example

The changes in the landscape of historical demarcation can be linked directly to the division between the Western and Eastern churches. This was primarily brought about by the questions on the dominance of the papacy on ecclesiastical matters where the Eastern bishops feel that they have a wider scope, contrary to the absolute supremacy of the Pope as recognized by the West. This can be perceived in the authority of the emperor who crowns and determines who would be the patriarch in Constantinople as discussed by Professor Ori Z.

Soltes (“Lecture Fifteen: Early Renaissance Painting in Central Italy”). Byzantine, as the East came to be known has also produced a number of artworks in religious inspiration that became the groundwork which was later on brought and adapted by the Western artists and continued through time with a unified progression. The observations on these understanding can be regarded in how the image of Virgin and Child has changed as rendered by different artists with in different periods. The image of the Byzantine icon of the Madonna and Child on a Curved Throne commences the inspiration for the succeeding paintings that depicted the image of the Virgin and Child in the 13th century.

Color plays an important role in the representation of the scene. Prof. Soltes points out that “We recognize the importance of the symbolic colors, the red of blood of sacrifice, the blue of the sky of truth, the green of spring of resurrection” (“Lecture Fifteen: Early Renaissance Painting in Central Italy”). Gold is another important color which can be found in abundance in this painting which replaces light in the image. The halo is a symbolism both of the mother and the child where Christ’s halo has a crucifix is suggestive of his character as both God and human alongside with his sacrifice.

In this painting, Mary’s head is tilted and the child is described as a miniature adult with his hands in that most familiar gesture and with two angels on either side. Cimabue’s Madonna of the Holy Trinity applies the same colors of red and blue but with less gold. Instead of looking at Christ, Mary looks directly and the audience is confronted with her stare. There are a number of angels, a total of eight, surrounding the main image and unlike the first painting the angels here are more mature but still smaller compared to the mother and child seated in the throne.

Duccio is regarded to have been an important figure in bringing the Byzantium art into the consciousness of central Italy. In his Maestà, the application of color also finds its significance where the Virgin’s dress is all in blue but with no gold tones. Here, there is movement where the Virgin is shown to be seated and her knees more pronounced behind the irregular folds of her garment. Christ is also brought into new light where he is painted as a plump baby and Mary’s head is tilted toward him.

Another difference is that instead of just having angels, this also has individuals and saints surrounding the throne. Continuity can again be seen in Giotto’s Virgin and Child who has reasonably applied “Renaissance Humanism” even prior to its coinage with the image depicting a Tuscan mother and child. Giotto makes use of the same colors of red and blue, including hints of gold, but with the application of white for virginity and purity (“Lecture Fifteen: Early Renaissance Painting in Central Italy”).

Then in Renaissance proper with Fra Filippo Lippi’s Madonna with Child (Tarquinia Madonna) of 1437, the gold, blue and red are still prominent. Here, a major difference is that there is no halo in the image. “So that supernatural element is completely gone. Well, of course, who needs it anyway? Everybody knows who this mother and child are” (“Lecture Sixteen: 15th- Century Italian Renaissance Painting”). This evolution shows the movement of the illustration into becoming a known and familiar imagery of the Virgin and Child as time elapsed.

The humanization of the icon is the very essence of the Renaissance. This brings the people closer to the holy images as one empathizes on an impression that is known and close to them. Works CitedSoltes, Ori. “Lecture Fifteen: Early Renaissance Painting in Central Italy.” Georgetown University. Youtube, 11 Oct. 2011. Web. 30 May 2014. ---.“Lecture Sixteen: 15th- Century Italian Renaissance Painting.” Georgetown University. Youtube, 11 Oct. 2011. Web. 30 May 2014.