Triptych of the Madonna and Child with Saints
By Ashley Hoyos
Neri di Bicci. Italy (Florence), 1419-c. 1491.
Triptych of the Madonna and Child with Saints and Angels, c.1440 Tempera on panel. Gift of Varya anad Hans Cohn in honor of the museum's 25th anniversary M.91.15 |
This triptych was made in Italy in circa 1440. It is a painting of the Madonna and Child, with the saints, who may be identified by their attributes: Anthony Abbot, Bernardino of Siena, Lucy, Catherine of Alexandria, Lawrence, and Julian the Hospitaller. This painting is supposed to represent the Madonna and her Child in heaven. The Virgin Mary is always represented with a lily and other attributes which emphasize her status as the mother of God. The purpose of this image is to show the motherly care for the Christ child in the presence of saints. In the fourteenth century during the Renaissance period, the Madonna was typically shown facing away from her playful child, but in this Madonna painting she is depicted in a less intimate setting, know in Italian as sacra conversazione, or in sacred conversation amidst a group of saints (“Madonna,” Encyclopedia Britannica). Mary is known for her grace and purity in art though, when she is pictured with her child, her characteristics are typically meant to convey her motherly and caring concern for her son. The triptych measures at about two feet in height, two feet and eleven inches in width, with a dimension of three inches. It is located at the Los Angeles County Museum of Arts (LACMA), on the third floor of the Ahmanson Building. This painting caught my attention because of the bright gold used throughout the entire panel. When compared to other paintings of Madonna and her Child, this painting’s style and use of colors stood out the most.
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The triptych is a tempera painting. Tempera was an ancient medium used in Europe during the Renaissance period (“Tempera Painting,” Encyclopedia Britannica). The angel above the Madonna, to her right, is holding a lily in her hand. The lily was a popular symbol of purity for the Virgin (Ferguson, 41). The saints in the painting can be identified by their attributes as Anthony Abbot, Bernardino of Siena, Lawrence, and Julian the Hospitaller. Gold is a color used throughout the to represent the presence of the Madonna and Child in heaven, and the status of Mary as the Queen of Heaven. A gold circle appears on everyone’s head pictured in the painting. This halo shows all of the figures individually as holy people. The two saints pictured closest to Madonna and the Child are holding objects. The saint to the right of Madonna and the Child is holding an open Bible with a feathered pen, and the other saint, to the left, is holding a lamp. The lamp is a symbol of Scripture as the Word of God, and an open Bible is commonly accompanied with it (Ferguson, 57). Madonna is sitting holding her child to the left of her body, as shown in most paintings of the Madonna and Child, looking towards the saints who are approaching them for prayers. She holds her child closely to her body while having him comforted on her lap.
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A picture taken of the placard at the Los Angeles County Museum of Arts for a closer look.
The audience for this triptych was likely religious Christians. This painting helped focus the individual’s prayers onto the image of the Madonna and Child, whose presence in heaven may have represented their ability to save souls. Neri di Bicci, the artist of this painting, created many such pieces for churches in his family-owned workshop. This piece could have possibly been one of his creations for a church. Bicci’s grandfather was the first in his family to open a workshop, after which Bicci’s father took charge of it, later passing it on to his son. The type of techniques involved in the manufacturing of this object was mostly painting and carving wood in the style of the triptych, which is painting composed of three panels that, in many cases, was easily portable because of its ability to fold down to a smaller size. Tempera came from the verb temper, meaning, “to bring to a desired consistency” (“Tempera Painting,” Encyclopedia Britannica). Composing a painting out of tempera was not an easy process, and other artists were turning to oils because of its it was easier to apply (“Tempera Painting,” Encylopedia Britannica). The Madonna and Child suffered a major decline as a religious subject after the seventeenth century. During the twentieth century, however, it gradually continued to grow in importance in popular art (“Religious Art,” Encyclopedia Britannica).
Madonna and Child are both important historical figures to the Catholic community. There are many models and styles of Madonna with Child for people to purchase. For example, on Marianland, a Catholic gift shop online, they priced the seated Madonna and child figurine at $29. This figurine is painted in vibrant colors, unlike the painting done by Bicci. The colors used on this figurine are bright blue, purple, and gold, different from the triptych painting that used duller colors. The Madonna and Child shows a caring mother protecting her child in her own arms. Although there are many styles of Madonna and Child for people to own, the meaning behind these figures will remain the same. This figurine is about the same height as the triptych, measuring at four feet by three quarters of an inch. The figurine, according to the Marianland website, was created to celebrate Mary, who inspired artisans, saints, and mothers across the world.
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Icon with Virgin Mary
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The Icon with Virgin Mary is painted with egg tempera, and gilded on wood, prepared with linen and gesso, and was originally the central part of a triptych. This piece of art is located at the British Museum, although, it is no longer on display. Icon with Virgin Mary was made in Athos, Mount (or Northern Greece) in the seventeenth century, with a height of seven inches and a width of five inches (measurements without the frame). This triptych colors are very dull and dark, unlike my LACMA object, which has very bright colors. The Icon with Virgin Mary’s colors are monotonous, and one can barely see the baby in her arms. This piece shows Mary giving her child affection by holding him close to her cheeks. Mary’s representation with her child is to show her as a caring mother, giving the Christ child protection by holding him close to her body. Although it is hard to make out, both Mary and the child are dressed in garments decorated with dense gold (“Icon with the Virgin Mary,” British Museum), similar to the Triptych of the Madonna and Child with Saints from LACMA. Both paintings were executed in tempera, but the Icon with Virgin Mary was painted with egg tempera. The museum provides great detail about the piece and its damage. The Icon with Virgin Mary piece is in a very fragile condition, with cracks running vertically all the way through. The lower right corner of the piece is detached and has woodworm damage as well (“Icon with the Virgin Mary,” British Museum). Although this piece is tearing apart, it is still an important representation of Mary and her child. This piece caught my attention as a comparative object because it represents Mary and her child in a different style, but with the same meaning
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Neri di Bicci (1418-1492)
Neri di Bicci is a second generation Italian painter, and is the son of Bicci di Lorenzo (1373-1452), who was a painter and architect. Bicci’s artwork was in great demand, but he refused to find interest in the figurative spirit of the Renaissance period, unlike his son who later made historic paintings in this spirit that can be seen today (Santi, “Bicci di Lorenzo”). Neri di Bicci was born in Florence in 1418 and died on January 4 in 1492. Bicci began his painting career by working in his family-owned workshop. The workshop was successful when Bicci became in charge of the business. Bicci’s father introduced him to painting and showed him the techniques he knew. Neri’s early work style were similar to those of his father’s, and it was hard to distinguish the differences between both artists’ works. Many of Bicci’s paintings were made for churches, chapels, and for families upon request. The “Ricordanze” is a diary made of 189 sheets and written by Bicci himself (Santi, “Neri di Bicci”). The diary provides information about his personal life and work as a painter. The “Ricordanze” made him one of the best-known painters of the fifteenth century (Santi, “Neri di Bicci”). Bicci created the triptych painting of Madonna and Child with Saints. According to Oxford Art Online, Bicci composed a triptych depicting the Virgin and child Enthroned with Six Saints in 1444 (Santi, “Neri di Bicci”). Bicci’s first work was a painting of the Virgin and Child with Four Saints, which he painted for Luca da San Colombano, a church located in Italy. Bicci remained active throughout most of the fifteenth century up until his death. He did have children and thus had no one to follow into his footsteps. Bicci was to be the last generation of painters in his family
Works Cited
Appleton, LeRoy H. and Stephen Bridges. Symbolism in Liturgical Art. New York: Charles Scribner’s Sons, 1959.
de Bles, Arthur. How to Distinguish the Saints in Art by Their Costumes, Symbols, and Attributes. New York: Art Culture Publications, 1925.
Ferguson, George. Signs and Symbols in Christian Art. New York: Oxford University Press, 1954.
Giorgi, Rosa. Angels and Demons in Art. Los Angeles: Getty Publications, 2005.
"Icon with Virgin Mary." British Museum. 1996., Web. 30 Nov. 2015. <http://www.britishmuseum.org/research/collection_online>.
"Religious Art." Encyclopedia Britannica Online. Encyclopedia Britannica, 19 June 2015. Web. 30 Nov. 2015. <http://www.britannica.com/topic/Madonna-religious-art>.
Santi, Bruno. "Bicci di Lorenzo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 30 Nov. 2015. <http://www.oxfordartonline.com/subscriber/article/grove/art/T008757>.
Santi, Bruno. "Neri di Bicci." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 30 Nov. 2015.<http://www.oxfordartonline.com/subscriber/article/grove/art/T061797>.
"Seated Madonna and Child Figurine." Seated Madonna and Child Figurine. N.p., n.d. Web. 30 Nov. 2015. <http://www.marianland.com/aut0208/LT160.html>.
"Tempera Painting." Encyclopedia Britannica Online. Encyclopedia Britannica, 16 Oct. 2015. Web. 30 Nov. 2015. <http://www.britannica.com/art/tempera-painting>.
"Triptych of the Madonna and Child with Saints." Triptych of the Madonna and Child with Saints. Los Angeles County Museum of Art, 1994. Web. 30 Nov. 2015. <http://collections.lacma.org/node/171975>.
de Bles, Arthur. How to Distinguish the Saints in Art by Their Costumes, Symbols, and Attributes. New York: Art Culture Publications, 1925.
Ferguson, George. Signs and Symbols in Christian Art. New York: Oxford University Press, 1954.
Giorgi, Rosa. Angels and Demons in Art. Los Angeles: Getty Publications, 2005.
"Icon with Virgin Mary." British Museum. 1996., Web. 30 Nov. 2015. <http://www.britishmuseum.org/research/collection_online>.
"Religious Art." Encyclopedia Britannica Online. Encyclopedia Britannica, 19 June 2015. Web. 30 Nov. 2015. <http://www.britannica.com/topic/Madonna-religious-art>.
Santi, Bruno. "Bicci di Lorenzo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 30 Nov. 2015. <http://www.oxfordartonline.com/subscriber/article/grove/art/T008757>.
Santi, Bruno. "Neri di Bicci." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 30 Nov. 2015.<http://www.oxfordartonline.com/subscriber/article/grove/art/T061797>.
"Seated Madonna and Child Figurine." Seated Madonna and Child Figurine. N.p., n.d. Web. 30 Nov. 2015. <http://www.marianland.com/aut0208/LT160.html>.
"Tempera Painting." Encyclopedia Britannica Online. Encyclopedia Britannica, 16 Oct. 2015. Web. 30 Nov. 2015. <http://www.britannica.com/art/tempera-painting>.
"Triptych of the Madonna and Child with Saints." Triptych of the Madonna and Child with Saints. Los Angeles County Museum of Art, 1994. Web. 30 Nov. 2015. <http://collections.lacma.org/node/171975>.