The iconic “Madonna” figure has been used throughout paintings, sculptures, and other means of art for many centuries. This female figure has been a symbol of youth, faithfulness, and purity in the religious realm and has been translated through the lens of many different cultures over time.
Even though then “Madonna” figure is an icon of Mary the mother of Jesus, it has been used to highlight the painters current cultural depiction of the female figure. By that I mean the female figure somewhat represents the way a woman would dress and or look like during the time it is being painted.
In a way painters essentially give the “Madonna” figure a makeover by modifying the female to mimic their societal take on beauty, piety, and maternity. By making a “Madonna” figure with cultural influence demonstrates to viewers what a “Madonna” like figure in their time and place would be like. Those characteristics given to that figure is now transferable onto those that are suppose to represent her.
As time progresses the “Madonna” figure in the art world is a representation of what the artist and or society says it is. There is no longer a strive to accurately depict what the true Madonna would have looked or posed like instead the “Madonna” figure is adapted to fit all the characteristics of purity and femininity that this icon represents, and mixing it with the artist and societals depictions of those characteristics as well.
Paul Gauguin, la Orana Maria (Hail Mary), 1891, oil on canvas, 44 3/4 x 34 1/2 in., 51.112.2
la Orana Maria is an example of an artist recreating the idea of the "Madonna" into something they believe encompasses the essence of the icon. Gauguin sees this idea of purity and youth while he was in Tahiti. His painting taps into a more "primitive" representation of the "Madonna" figure. He adapts the figure who is to represent Mary as a Tahitian woman wearing Tahitian clothing in a tropical Tahitian setting. Gauguin still uses recognizable symbols such as the halo's on top of the two figures heads.
Duccio di Buoninsegna, Madonna and Child, 1290-1300, tempera and gold on wood overall, with engaged frame, 11 x 8 1/4 in., 2004.442
In this depiction of the Madonna and Child both figures are the focus with a gold background used to highlight the supernatural realm. It is clear that Mary is much larger ( hierarchical scale) and because of that her presence seems to overpower baby Jesus. This helps highlight the importance of her role in the coming of Christ. Duccio paints both figures with halos on having some interaction with each other with their poses. Mary is more dominant in scale, but continues to appear motherly while holding baby Jesus up in her arms.
Fra Filippo Lippi, Madonna and Child, 1440, tempura and gold on wood, transferred from wood, 49.7.9
The “Madonna” figure in this painting looks resembles a more European looking woman in clothes that are more typical of the 1400’s. She seems to also have less control of baby Jesus and is following along with him reading scripture. Her role seems to be more of a on looker than a participant. She continues to act motherly by supporting baby Jesus as He reads. They appear to be in a study like room with a window showing a more developed city.
Bernard van Orley, Virgin and Child with Angels , 1518, oil on wood, 33 ⅝ x 27 ½ in., 14.40.632
In this painting the Virgin figure is dressed and appears to resemble what women would wear in Orley’s time and place. She is covered with lots of fabric and her hair is loose. It is clear that she is embracing baby Jesus tightly, while angel look at scripture in the background. The garden scenery with the structures in the background looks like a castle somewhere in Europe.
Frederick William MacMonnies, Madonna of Giverny, 1901, oil on canvas, 45 3/4 x 45 ⅜ in., 1983.530
This “Madonna” figure is not as prominent as others. Her features contrast baby Jesus in that she has darker hair and tanner skin while baby Jesus is very blond and fair skinned. This sets them apart in making him closer to the foreground while she fades back with the rest of the angels. Her roles appears to be a chair for baby Jesus to sit on. Unlike the other “Madonna” she is less engaged with the infant.
Salvador Dali, Madonna, 1958, oil on canvas, 88 ⅞ x 75 ¼ in., 1987.465
Dali portrays the Madonna in a pix-elated type way inside of a large ear. The female figure is embracing the infant Jesus while directly gazing at the viewer. In the “Madonna’” before they were all focused on baby Jesus, but Dali Madonna is more confrontational in that she stares straight on. Her role is more active in her gaze, which gives her figure a more powerful position.
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