"“Madonna of Glory”, Sandro Botticelli – description of the painting
Description of the picture:
Madonna in Glory – Sandro Botticelli. 1469-1470. Tempera. 100 20 x sixty 5 cm
The painting “Madonna of Glory” is a catchy example of Botticelli’s manner of writing – borrowing certain parts from other painters of his own time in combination with his own finds.
The work introduces us to Mary with the baby Jesus in her arms. Interpreting the view of the Madonna makes Botticelli related to Verrocchio and Filippo Lippi. The latter was a teacher of Botticelli. Namely, the creator borrows such an element of clothing as a veil from Lippi. Almost transparent veil from that time will often appear on the canvases of the painter. Botticelli also follows Lippi in the image of the vestments of the Madonna. It is clear that Filippo Lippi sought to “humanize” the holy images, bringing them closer to real people. That is why the vestments of the Madonna freely fall from her shoulders, forming folds – Mary looks like an ordinary lady, a townswoman.
But it is worth turning your eyes to her face, and here miracles begin, created by the brush of a professional master who is subtly sensitive and able to convey the subtlest emotions to the viewer. Madonna’s eyes are martyred, her head drooped, as if a fragile flower were in front of us. The Mother of God looks touching and defenseless, and her body, although drapery, gives the figure plasticity, as if ethereal, weightless. Botticelli also introduced innovative features into the image – highlighted the subtlety of the hands and lengthened the proportions of the figure.
The background of the picture is represented by sad, woeful Cherubs who formed a kind of arch, a halo around Mary. This is a hint of selectivity, humility and glorification of the heroine. Madonna sits on the clouds.
The face of the Savior baby is serious and sad. He raised a chubby hand as a symbol of blessing. On the halo of Jesus you can see the cross – a reminder of how this earthly life of this baby will end.
The Madonna firmly embraces the offspring with her luxurious hands, trying to protect her from all suffering. But the sadness that is read in her half-open eyes tells the viewer – she knows that he will face death for the sins of the world. The picture is very sensual, especially in the aesthetics of the Renaissance.
For a very long time, the work was exhibited at the Uffizi Gallery without attribution, and the time of creation was determined by art critics from one thousand seven hundred eighty-four to one thousand eight hundred and twenty-five. Later studies, which were based on modern methods and technical abilities, allowed a new painting to be acquired by the artist , famous Renaissance painter Sandro Botticelli."