Museum - analyze ,compare duccio-Madonna and child ,Filippino Lippi - Madonna and Child - Research Paper Example

Also known as the Stoclet Madonna or Stroganoff Madonna, Duccio’s Madonna and Child is painted in tempera with decoration on wood panel and this work of art dates back to 1300. In this painting, similar to other Madonna paintings, Duccio portrays Mary, the mother of Jesus, holding the infant Jesus, and it covers a frame of 27.9 ? 21 centimeters. Filippino Lippi’s painting Madonna and Child, a.k.a. Tarquinia Madonna (ca. 1437) covers a frame of 32 x 23 1/2 in (81.3 x 59.7 cm) and is can be briefly described as tempera, oil, and gold on wood.

Regarded as the earliest dated work by Lippi, Tarquinia Madonna reveals the enriched language of Lippi’s work as well as his influence of Flemish painting. “In the Tarquinia Madonna of 1437, the careful study of light and perspective, which confers movement on the Virgin’s drapery and illumines her marble throne, is evidence of a strong Flemish influence (motif of the windows putting the interior and exterior into communication, presence of the book and bed, phenomena of daily domestic life, typical of Flemish painting).

” (Dobson, 814) This paper makes a profound analysis of Duccio’s Madonna and child and Filippino Lippi’s Madonna and Child in order to comprehend the similarity and difference between the themes, medium, composition, treatment of space, influence of the period in which they were created, etc. Duccio di Buoninsegna’s Madonna and Child (ca. 1300) is one of the greatest paintings belonging to the medieval Italian art history which is distinguished for its sublime beauty. Significantly, this painting is celebrated as the ground-breaking opening work of art in the most glorious career of Duccio’s art and the influence of the period is very much evident in this painting.

At the time of its composition, Italy was divided into many city-states such as Florence, Siena, Milan, and Venice, and Duccio belonged to Siena. It is important to realize tha Duccio is the founder of the Sienese style in painting which emphasized ornamental surfaces, winding lines, stretched-out figures and profound use of gold. The painting Madonna and Child is familiarly known as Ruccellai Madonna due to its subsequent placement in a chapel of Ruccellai family and it reveals Duccio’s style of composition.

As Rachel Nicholls (2008) maintains, Duccio is generally recognized as the founder of the Sienese school of painting and “his work was so innovative and skillful that it now seen as a new departure rather than a continuation of tradition. His style did not appear in a vacuum and his approach to the painting of figures (particularly the Virgin) is a creative development of the techniques of Cimabue. His style also offers a backward look to Byzantine art with its highly stylized iconic figures against a glided background, and a forward look to a more naturalistic interpretation of human relationships.

” (Nicholls, 157) Significantly, a profound analysis of Madonna and Child is fundamental to an understanding of the development of Duccio’s style which is influenced by the period in which he composed his paintings. It is also important to maintain that this painting reveals a naturalistic impulse enriching the religious theme in Duccio’s art. In comparison, Filippino Lippi’s Madonna with Child (Tarquinia Madonna) is also a true representation of the period in which it was created, and it is regarded as one of the masterpieces of the Early Renaissance period.

Significantly, Filippino Lippi