Pietro Lombardi, Virgin, and Child, Italy (Veneto), ca Analysis
Introduction
Renaissance artwork is decorative art, sculpture, or painting crafted during the 14th Century. The masterpieces reflected a series of developments that occurred in different sectors like technology, science, music, literature, religion, and philosophy. One of the most iconic artworks is Pietro Lombardi’s, Virgin, and Child. It is from this rationale that the brief investigates the “virgin and child.” Issues worthy consideration in the paper include; techniques utilized to generate visual effects, the original audience, how the object is originally viewed, and an analysis of how the masterpiece is today getting displayed.
Object description
The artwork “virgin and child” is displayed on a Carved Istrian stone with traces of polychromy. The original artwork is displayed on a picture frame whose dimensions are 151.2 x 58.4 x 40.7 cm. The object is wooden and appears finished using a golden color. The stunning success of “Virgin and Success” is inspired by the artist’s affiliation with Christianity. One of the striking aspects with the masterpiece is the incorporation of a three-dimensional setting relating to the ordinary life that accentuates the realism of the figure in its original set-up. It is also evident that the central figure, which is “Mary’s” image, fills the frame, which is an indication that she is the main subject. At the same time, the “Baby” alluded as Jesus is a sub-topic of the artwork[1].
The clothing also involves some heavy fabrics falling vertically hence resembling the Giotto’s style. In artworks, the heavy fabrics are typically used to symbolize the main figure solidarity or dominance. It is also evident how the left-hand arm of the mother supports “Christ.” Also, the alleged “Mary” seems to have rested her right hand, and not pointing to the son as a symbol that the baby is essential to society[2]. People argue that the artwork was developed for a religious entity because of its affiliation with spiritual contexts. Don't use plagiarised sources.Get your custom essay just from $11/page
The images of the “virgin” do not only portray Mary, Jesus’ mother.” It also represents her as a prominent figure in both ancient and modern cultures. That is also the reason why the “Virgin’s” image is famous in medieval and renaissance artworks than any other womanly figure. Her images have so far eclipsed other biblical characters, including Christ himself. Such is an attestation to the significance of the artwork done by Pietro Lombardi.
Her costume obscure the underlying anatomical body structure. The fabric of the long-sleeved and exposed-necked attire, knotted at the bosom, falls over her abdomen in thin pleats widening into large folds above her feet[3]. The heavy mantle resting on her shoulders exposes the sleeves of her dress. The mantle drapes across the middle of her body to create a stiffly folded apron. A veil covers her hair, carve up in the middle while waves were pulling them over the ears. The long overall face, delicate nose, prominent chin, deep-set eyes, and parted lips show the real Queen of Heaven. The artist used a different sculpted crown made of a different metal which he placed on her head. The virgin draws the child close to her using her left hand. The child who clumps awkwardly catches the mother’s veil in his right arm while holding a book on the left. The child puts on a sleeveless tunic. Under polychromy, the sculpture was decorated in partial gilding[4]. The grayish-white layer at the extant top of the polychrome shows that the object might have been whitewashed in giving unsullied white marble appearance. The traces of visible colors today leaves a pristine vision on the object.
The original audience for the object
The sculpture was initially meant for religious settings as it was placed in sacred places within the church. The idea behind the artwork as the name suggests “virgin and child” is a depiction of Christianity, because it portrays the Virgin Mary, the mother of Jesus Christ. In the image, people can see how Mary holds the infant, believed to be Jesus Christ[5]. In emphasizing the noble concept, the sculpture received a prominent place in Church, in particular at the Roman Catholic. Through the image, memories regarding how certain matters got handled can be preserved. Using artworks in memory preservation is essential. The object comes with the ability to show how empires, structures, and prominent individual’s significance got reserved in society. From the image, it is evident how the mother of Christ is tenderly holding her baby, Jesus[6].
One of the unifying themes relayed across the image is how Mary and Jesus appear dressed in a robe. The robe is a symbol of acceptability and justification, meaning that the wearer is not guilty before his creator, God. Besides, the robe also symbolizes the arrival of the prodigal son, where love ushers a renewed purpose, healing, and acceptance in the kingdom of God to all who believe in God. The robe is also a symbol of humbleness before the eyes of the lord, thus calling out the people of God to humble themselves.
How the object was viewed originally
The general view of the people regarding the object varied significantly. From the Christian view, especially the Roman Catholic, it symbolized spiritual being. The mother was the Queen of Heaven, whereas the baby she was carrying was the Savior to the world[7]. Others literary opined that the sculpture showed the intimate relationship between a mother and her kids. By embracing each other, the object displayed a high level of affection that coexisted between a mother and a child. To others, the object symbolized power — the power-oriented individuals associated with the crown with authority. The crown and veil were symbols of power, and the object was a politically instigated one.
Analysis of the sculpture today
The object of the “virgin and child” depicts many things with different meanings, for example, the mother’s soft face and tender expressions perhaps indicate purity and innocence as portrayed through the title, and the baby’s image also appears to be more of an adult, instead of a toddler being carried. Jesus’ mature figure resembled in the artwork is an expression of dominance, or rather a symbolic being with significant influence on the world’s affairs[8]. The statue clearly illustrates that Jesus is the Messiah, and this is also the reason why the mother appears to be holding her firmly in her left hand while holding nothing in the right arm. The “Virgin” also seems to be pointing towards “the Child,” which is an indication that Jesus is a dominant subject in the masterpiece. It can be translated that pointing towards the baby is an indication that though the “baby” is the only way to salvation. The child in the sculpture also appears to tug at the mother’s veil, which spiritually can be translated to indicate the passion and death veil, which would eventually cover the[9]. Through the pull and pucker of the cloth, the artist gives the object some sorts of naturalistic touch to the Christian fraternity.
The sculpture assists one in understanding the deeper meaning behind the artwork. For instance, through the masterpiece, the artist appears to have revealed his preoccupations with issues that are entirely modern to illustrate some sorts of tragic eloquence or express pathos. The artist has also expressed his deep feelings through the use of colors where the tone selection is deep. According to the paintwork, it can be argued that the artist has transformed the aristocratic tradition into some realistic human-like style of representing objects. Besides, the freedom to portray the image is accentuated by the broader selection of theme and vigor that appears to be both formal and plastic. Considering the sheer size of the object, using the mirage of a “Virgin Mary” dominates the main scene in the paint. The artwork reaffirms the positions of Mary, Jesus Christ, on the world, and how Mary is an influential figure in the world’s religious arena, in particular, to the Roman Catholic Church. They are all dressed in a golden color, meaning that they are expensive and pre and second to none on earth[10].
Conclusion
The artwork “Virgin and Child” by Pietro Lombardi is a significant masterpiece that not only inspires artists popular during the renaissance period, but the work also inspires the Christian community. The masterwork has summarized some of the contentious issues in the bible, including the birth and death of Jesus Christ, by accentuating that it is only through Christ that the world can get saved. The arts are done through effects that make it striking even though the audience must be getting extremely careful to understand the message getting relayed-across. Thus different artworks have different depicts different meanings, hence calling upon people to understand the meanings of each piece of artwork.
Bibliography
Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[1] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[2] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[3] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[4] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[5] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[6] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[7] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[8] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.
[10] Lombardi, Pietro. “Virgin and child, Italy (Veneto), ca. 1430. Carved Istrian stone with traces of polychromy. 151.2 x 58.4 x 40.7 cm Object Number: 938.16.2.” n.d.