Madonna and Child

Duccio di Buoninsegna was a prominent painter of the Sienese School and is considered to be one of the greatest Italian medieval painters. His painting style evolved with his skills in combining Byzantine Formality with a new Lyrical expressiveness and colour sensitivity. His painting Madonna and Child is painted around 1290-1300 in tempera and gold on wood, which is currently being held at the Metropolitan Museum of Art and it is one of his celebrated works. This artwork of Duccio depicts the image of the Virgin Mary in her traditional deep blue cloak, holding the Christ Child on her lap. Looking at this panel, it can seem like a very simple depiction of a holy image. However, looking closer at the painting style that expresses the image in an entirely intimate tone is the most interesting part about this artwork. It was able to capture the human tenderness of a relationship between a mother and her child. Here the Christ Child has also been depicted in his childlike innocence, reaching out his tiny hand to brush aside the veil and look for his mother's face. One detail that's easy to miss at first is the painted marble ledge Mary appears to stand behind, known as a parapet. It does two things at once, it separates the sacred, timeless world the figures inhabit from the real space of the viewer, while also drawing the viewer physically closer to the image. This small architectural device is actually one of the most significant innovations in the panel, and is part of why this work is seen as a hinge point between medieval and early Renaissance ways of painting. This painting is small but has a powerful presence due to its depiction of emotions of divine figures with attention to human details, yet without sacrificing their sacred nature. There's more than a semblance of humanism in the depiction of Mary where her drapery is shaded with real tonal modelling rather than flat lines, so that you can sense an actual body underneath the fabric, which was a fairly radical departure from earlier Byzantine flatness. Her tender, sorrowful expression carries a range of realistic emotion, as though she already senses the sorrow that lies ahead for her son. One thing worth correcting in how this painting is often described: Mary's skin now reads with a slightly green tone, but this isn't part of the original palette. Over time, the pink and white flesh tones have worn away, exposing the green earth underlayer (called terra verde) that painters of the period used as a base beneath skin colour. It's a conservation detail rather than an artistic choice, though it's often mistaken for one. This artwork is a devotional piece as it is evidently seen in the bottom edges of its original frame that has been burned most probably by devotional candles placed beneath it.