Madonna and Child in Glory - Literature review Example

Running head: VISUAL ANALYSIS Visual Analysis: “Madonna and Child in Glory” (1535) by Garofalo VISUAL ANALYSIS Visual Analysis: “Madonna and Child in Glory” (1535) by Garofalo Renaissance is an era in the history of art and culture, reflecting the beginning of the transition from feudalism to capitalism. In classical forms Renaissance was formed in Western Europe, especially in Italy, but a similar process took place in Eastern Europe and Asia. In each country, this type of culture had its own characteristics associated with its ethnic characteristics, specific traditions, influenced by other national cultures. The Renaissance is associated with the formation of world`s culture and humanistic consciousness. In similar conditions similar processes were developing in philosophy, science, morality, social psychology and ideology. Italian humanists of the XV century focused on the revival of ancient culture, philosophical and aesthetic principles of which have been recognized as an ideal, worthy of emulation. In other countries, such a focus on the legacy of antiquity could not be present, but the essence of the process of human liberation and approval power, rationality, beauty, freedom of the individual and the unity of man and nature are common for all cultures of Renaissance type. Philosophical foundation of Renaissance becomes philosophical direction of humanism. In contrast to the Romanesque and Gothic culture, medieval culture of the Renaissance had mostly not religious, but secular features. However, the subjects of the works with mythological and biblical themes were very popular. The eyes of the humanists turn to antiquity; educated people find in it what they were looking for: fidelity to nature and beauty. Antiquity was the power source supplying the artist with inspiration. Acanthus leaves, medallions, griffins, sphinxes, birds, newts, armors - all of this was taken from the arsenal of the ancients. The nature itself was the beginning of art, a perfect universe played a role of sample or VISUAL ANALYSIS model, and in the centre of everything the human stands, specifically – earth man with a strong character. All Renaissance art is associated with a specific type of a human face. The basis of all it innovative discoveries is the opening of “personality”, the awareness of one`s value and dignity of his capabilities. An opportunity to forge the image according the will was rised. The overwhelming belief in the limitless possibilities of human self-help, self-assertion, belief in rational structure of the world, in the triumph of progress was the basis of this art. The issues of civic duty, high moral character, and feat came to the forefront. The creators of this deeply humanistic art were not only people of huge culture, broad-minded, but creative individuals, free from the framework of the medieval guild stand. The era spawned creative individuals that were experiencing the synthesis of science and art. In Western European paintings of the Renaissance image of the Virgin developed, turning art into “an era of Madonna”. The image of the Madonna in various Western European artists depend on the aesthetic tastes of the individual artists themselves more than the tastes of the era in which they worked. The Virgin Mary in Western European art has become the epitome of the perfect female beauty and deified motherhood. The cult of nature and physical beauty was struggling with the spirit of the Renaissance, preferring to corporal. Veneration of the Mother of God brought people of East and West together, but different approaches to understanding the essence of the Virgin and the formation of different artistic and aesthetic image of her in Orthodoxy and Catholicism is worthy of attention. Ferrara played the role of a significant cultural center in northern Italy at the end of the XV century. Once Benvenuto Tisi, called Garofalo (1488-1559) was called VISUAL ANALYSIS Ferrara`s Raphael. For many years Garofalo gratuitously painted for the monastery of San Bernardino in Ferrara based by order of Lucrezia Borgia. Perhaps the artist was performing a vow, which was given due to severe eye disease, as a result of which he was almost completely blind at the end of life. It is clear that the “School of Athens” by Raphael served as a prototype for Garofalo in the composite decision of his paintings. But Rafael`s brilliant location of figures in a harmonious and at the same time a clear rhythm corresponding to the rhythm of architecture, was not available for Garofalo. Using external motives of the High Renaissance, he remains deeply provincial master, his decisions to the Gospel story entirely meets the tastes and traditions of the Quattrocento, when religious theme served as a pretext for a detailed account provided with a mass of interesting details. Ingenious innovations are alien for Garofalo: he could not move, as Raphael, the protagonists into the background and yet secure for them a leading semantic and compositional solution. Lets turn our attention to painting “Madonna and Child in Glory”. Garofalo has several paintings with common titles, dating different years. In the center of the painting “the human with strong character” and difficult destiny is. It is hard to remember the image of Madonna with a happy smile – brushes of all artists depict her with sad eyes, alluding to the knowledge about what ungrateful future awaits her son. We see the traditional for image red dress with a blue cloak - which are “playing” on the contrast. Let`s pay more attention to the background, with images of angels now. Garofalo rejected from the idea of a plurality of minor persons (1530), focusing only on the six angels. We see the angels holding the crown above the Madonna (in addition to solar glare, forming a halo around her head), looking into VISUAL ANALYSIS the distance - in the future, and the angels-musicians at each other, telling each other about the past and present with sadness, sympathy and praise. Both paintings arranged Madonna with her son over the people`s world, on the thick dense cloud. Compositionally, the painting of 1535 allows us to see the face, but does not catch the eyes of the Mother of God, as in the Madonna and Child in Glory and Holy Ones (1530). As for the color palette, Garofalo is an obvious successor of Rafael. (Some parallels with his work will be shown below). 1530 Madonna and Child in Glory and Holy Ones 1535 Madonna and Child in Glory In early works Tisi had much in common with Dosso Dossi, and other luminaries of the School of Ferrara of those days. His composition is majestic, he presents noble expression, figures of his painting are correct, but partly conditional. He uses brilliant color. Early works were a bit overuse with chilly gray and bluish tones, but Madonna and Child in Glory and Holy Ones (1535) already leads us away from this statement, now it is better to say that they have rich textures. VISUAL ANALYSIS Madonna di Foligno (1511-1512) Marriage of the Virgin (1504) Returning to Raphael (for comparison, let`s look at the works of “Madonna di Foligno” (1511-1512) and the “Marriage of the Virgin” (1504)), we may note a more idealized figures and brighter lighting as opposed to almost twilight works by Garofalo. The watcher may note the vibrant color of clothes, which later would appear on Madonna of Garofalo. Once again, look at the figure of the Madonna: instead of “maiden” figure (in paintings by Raphael), Madonna by Tisi is real, formed woman. Here we see one of the features for the Baroque époque following the Renaissance - the splendor of forms. It comes far and far away from the tiny numerous details of the antique culture. Not less important of the Garofalo`s paintings is itself an expression of the childs face. If we compare the pattern of previous eras, we would be able to see on them something neutral emotion, calm - with rounded, a bit fuzzy or even conventional - features. The child by Garofalo (on both pictures) looks straight into the soul of the observer. He is surprisingly serious and gives the impression that in VISUAL ANALYSIS his character it is more likely to find perseverance than forgiveness. “Madonna and Child in Glory” (1535) shows he is ready to meet his fate and understands the importance of his mission. In fact, the style Garofalo throughout his life was changing so dramatically that culturologists sometimes attributed his works of other authors. However, his painting are considered to be “typical of an iconography that first appeared in Europe during the late 14th century” (Museum Acquires Tisi Nativity Painting).Despite Tisi was not an innovator; he perfectly embodies the religious ideas in his works, largely confirming his own affiliation to the Renaissance era. VISUAL ANALYSIS References La Madonna di Foligno di Raffaello, c. 1511-12. Retrieved from commons.wikimedia.org Madonna and Child in Glory by Benvenuto Tisi da Garofalo, c. 1535, tempera and oil on wood, Lowe Art Museum Retrieved from commons.wikimedia.org. Madonna with the Child in Glory and Holy Ones, by Benvenuto Tisi da Garofalo, c. 1530. Retrieved from commons.wikimedia.org Marriage of the Virgin, Raphael, c. 1504. Retrieved from commons.wikimedia.org Museum Acquires Tisi Nativity Painting, Accessed on [July 15, 2014] Retrieved from blogs.westmont.edu. Renaissance Art in Italy (c.1400-1600) History, Characteristics, Causes, Techniques. Retrieved from visual-arts-cork.com. The technique of Garofalo`s Paintings at the National Gallery (2002), National Gallery Technical Bulletin Vol.23, National Gallery Company, London: Yale University Press. Retrieved from nationalgallery.org.uk. Read More