Madonna and Child, ca. 1290–1300, Duccio di Buoninsegna
The Madonna and Child painted by Duccio di Buoninsegna is one of numerous paintings of the two figures created by painters over hundreds of years. However, it is a remarkable one because it is one of the first that depicts the Madonna and Child as humans rather than iconic figures. In the late Middle Ages, the era in which this painting was made, most religious figures were iconic rather than realistic. In other words, they were used as images to look at when worshipping and not as humans that actually once existed in the flesh. The way the child reaches up to the Madonna’s veil in the painting and the way the Madonna gazes at the child in sorrow show human characteristics that are not represented in the iconic religious art of the Middle Ages. Duccio created this work near the end of the Middle Ages, and it shows a transition to the more humanistic outlook for art during the Renaissance, which followed the Middle Ages in terms of artistic periods. It is really groundbreaking because it is ahead of its time by a hundred years or so, but Duccio and Giotto, another Italian artist ahead of his time, led the way into the Renaissance with their more humanistic paintings.
The painting is tempura and gold on wood in a wood frame. The painted surface is only 23.8 x 16.5 cm. With the wood frame include the painting measures 27.9 x 21 cm, so it is rather small. The wood base to the painting may explain why the colors of the painting have not faded as they may have had it been painted on canvas. There are cracks in the painting though, especially around the edges, which show its age. The wood frame also shows burn marks at the bottom presumably from candles lit in devotional rituals. This leads experts to conclude that the painting was created for private use during religious devotions rather than for display in a gallery or for sale to a benefactor.
Some interesting aspects of the painting include the way the baby Jesus is depicted. He looks more like an old man with a pot belly than like an infant. The way he slouches in the Madonna’s arms makes him seem to have an adult posture. Also the way he reaches up to his mother, perhaps in comfort, is beyond the years of an infant, but then, the figure is supposed to be Jesus, one of the divine triad. The expression on the baby Jesus’ face also makes him look as if he has knowledge beyond his years, which may be why he pulls his mother’s veil back. The information about the painting from the Met says that the Madonna looks at the baby Jesus with sorrow, but one could also interpret her look as annoyance at the baby pulling her veil. Duccio probably did not intend for that interpretation, but coming from a modern-day viewer, it is a valid comment about the expression on Mary’s face.
Another interesting aspect of the painting is the draping of the fabric, which is typical more of Renaissance paintings than of medieval ones. The colors of the painting are also rich and deep in dark blue, light red, light purple, cream and gold. The light that is reflected in the painting seems to be coming from the left side and shines on the beautifully colored fabrics. For a painting that is over 700 years old, the colors show little fading, just some cracks in the paint. The light and draping works especially well in the detail of the veil around the Madonna’s face. The viewer has no doubt that the material is a cream colored satin that drapes and has the same sheen in the painting as it does in real life. It is real enough that viewers feel if they touched the veil in the painting, they would be touching satin.
A third interesting aspect of the painting is the parapet that sits in the lower front ground of the work. Including this in the painting means that the Madonna and Child are not just icons but real humans in the flesh who live in a dwelling that has a balcony with a parapet. Perhaps they stepped out to enjoy some fresh air and are standing next to the parapet to enjoy the mid-morning sun rising to the left of their field of vision. It may be the source of the light reflected in the painting, which also seems more of a Renaissance detail than a medieval one. The parapet also acts as a small barrier between the viewer and the figures. It is almost as if the viewer is passing by and sees the Madonna and baby Jesus on their balcony and stops to gaze upon them. This also gives dimension to the painting. Adding this detail clearly signifies that Duccio meant for viewers to interpret the figures as humans and not just as images of religious figures.
Finally, the gold that is included in the painting’s background is more typical of a medieval painting. Often medieval paintings of religious figures depict flat figures with flat gold halos encircling their heads. Duccio included the gold halos in the painting, complete with some designs that are outlined in black, but the figures on which the halos sit are fuller and rounder. The gold of the halos has faded over time and are hard to make out. Plus, the background of the painting is nearly the same color as the gold of the halos, so it is difficult to distinguish it without being right next to the painting.
