Madonna and Child Through the Times

A Madonna and Child or the Virgin and Child and representations of Mary and Jesus. Although the two are the main aspect of the paintings and always appear in these pieces, there have been different adaptations and change of views throughout history when artists have thought about how these Madonna's should be depicted. There have been major shifts in views of Mary and especially the narrative the artists are trying to represent in their works. There have also been many additions of angles and sometimes other people in different styles the works. Early views of Madonna and Child pieces were centered to fit the church and denomination that they were part of. Throughout time artists have strayed more towards showing a more natural and nurturing side to the story while still hinting at the heavenly side. Each era seemed to have their own adaptation of the narrative and made drastic artistic style changes to fit those views. As we look at these pieces, we are able to not only see the differences in art style over time, but also the main beliefs and what the people the people of the time prioritized, and hopefully we can make inferences from those main beliefs to better understand the culture at the time. 

Virgin and Child with the Young Saint John the Baptist and Angels, François Boucher (French, Paris 1703–1770 Paris), 1765, Oil on canvas, Oval, 16 1/8 x 13 5/8 in. (41 x 34.6 cm), Gift of Adelaide Milton de Groot, in memory of the de Groot and Hawley families, 1966, Accession Number:66.167 

Although Boucher's version of Madonna and Child was not the most popular one of his era, it is still a good representation of what many artists were depicting as the best new adaptation of what the Madonna and Child should be which is a very nurturing and motherly Mary while still having spiritual aspects to the piece. Boucher was a big fan of the Rococo style of painting and it was also very popular among many artists of this time period, so for this painting to be in the Rococo style is a good view of what was a common art style. What was also popular for this time period was to add angles although not all were depicted as babies like shown here.  

Mother of God and Child, early 20th century (original dated 9th century), Byzantine, Painted plaster cast, Overall: 89 x 58 1/2 x 9 1/4 in. (226 x 148.6 x 23.5 cm), Reproductions-Mosaics, Harris Brisbane Dick Fund, 1943, Accession Number:43.48.1 

This was one of the earliest Madonna and Child pieces and during this era they were meant to be strictly religious pieces. Mary and Jesus have large bold halos around their heads showing that this is them as heavenly symbols rather than their human figures. These were typically found in churches to show transcendence and have it as a reminder that we should be striving for that. Mary was certainly not thought of as a mother in this as she only has a single hand resting on her son’s shoulder. Jesus was not meant to be seen as the Son but rather a wise teacher and part of God. 

Madonna and Child, Berlinghiero (Italian, Lucca, active by 1228–died by 1236), possibly 1230s, Tempera on wood, gold ground, Overall 31 5/8 x 21 1/8 in. (80.3 x 53.7 cm); painted surface 30 x 19 1/2 in. (76.2 x 49.5 cm), Gift of Irma N. Straus, 1960, Accession Number:60.173 

Although medium had changed into mainly paintings by this point in time, the idea of Mary being more of a spiritual symbol had stayed constant. Mary and Jesus still have a halo even though it isn’t quite as obvious. Here Mary is meant to be a symbol of eternal love in Heaven, and Jesus is depicted as the teacher he would become once older, rather than a baby that Mary must nurture and take care of. They are shown like this as spirituals figures to remind us of Jesus authority and importance.  

Madonna and Child, Carlo Crivelli (Italian, Venice, active by 1457–died 1494/95 Ascoli Piceno), ca. 1480, Tempera and gold on wood, Overall 14 7/8 x 10 in. (37.8 x 25.4 cm); painted surface 14 3/8 x 9 1/4 in. (36.5 x 23.5 cm), The Jules Bache Collection, 1949, Accession Number:49.7.5

Crivelli’s Madonna and Child is a very strong representation of the values of the late 1400’s in the sense that it mixes the message of spirituality and tenderness. The halos around Mary and Jesus heads show that they are valued highly spiritually. He uses the apple and fly to represent sin but also has the cucumber and goldfinch as symbols for redemption. On the more nurturing aspect he paints the background to be nature rather than a dark room or a gold background. Outdoor scenes were seen as a more natural and nurturing setting for Madonna and Child pieces.  

The Rest on the Flight into Egypt, Gerard David (Netherlandish, Oudewater ca. 1455–1523 Bruges), ca. 1512–15, Oil on wood, 20 x 17 in. (50.8 x 43.2 cm), The Jules Bache Collection, 1949, Accession Number:49.7.21 

Over time we see artists view Mary in the Madonna and Child as more of a mother to Jesus rather than an authority figure or a symbol for spirituality. It was a popular thing in the pieces of this era to show Mary breastfeeding to show that new way you should view this is as a supportive and providing piece. This view of the Madonna was also made for mainly commission rather than to have in a church.  

Madonna of Giverny, Frederick William MacMonnies (American, New York 1863–1937 New York), 1901, American, Oil on canvas, 45 3/4 x 45 3/8 in. (115.1 x 114.7 cm), Gift of Ira Spanierman, 1983, Accession Number:1983.530 

More recent Madonna and Child pieces show Mary in an ethereal manner to show her as feminine which is seen to be as a more motherlike trait. The fabrics used as well as the natural scenery are another touch to make the view softer. It was now popular in this time to have the angles be girls rather than boys to aid the sense of the maternalism. One thing that has stayed constant throughout most of history is the indications of importance towards Jesus. He is usually the one in the direct center of the piece, as well as having hand gestures pointed to him, and if there are others in the piece then they are typically either looking at him or facing the direction of Jesus.