圣母与圣婴

ca. 1290–1300
On view at The Met Fifth Avenue in Gallery 635
锡耶纳画派大师杜乔的这幅精美作品用现实生活中的关系来表现圣母与圣婴的神圣形象,因而确定了西方艺术的一个转型时刻。与拜占庭时期将绘画作品视为神圣人物的象征性图像这一概念不同,杜乔赋予他的画中人物以一种新的人性,探索母与子之间的心理关系。一道栏杆将图上的虚构世界与观者的现实世界连接起来,这是这种图像手法最早的应用之一。原本的画框上显示出被蜡烛烧灼的痕迹,表明这幅画前曾燃点过敬拜用的蜡烛。

Artwork Details

Object Information
  • 标题: 圣母与圣婴
  • 艺术家: 杜乔·迪·博尼塞尼亚,意大利,活跃于1278–1318年
  • 创作日期: 约1300年
  • 材料: 蛋彩画,描金,木板
  • 尺寸: 带框11 x 81⁄4 英寸(27.9 x 21厘米),画作表面93⁄8 x 61⁄2 英寸(23.8 x 16.5厘米)
  • 来源信息: 购买,罗杰斯基金,沃尔特和利奥诺·安那伯格及安那伯格基金会捐赠,莱拉·艾奇逊·华莱士捐赠,安妮特·德·拉·任塔捐赠,哈里斯·布里斯班·迪克、弗莱彻、路易斯·V·贝尔、道奇基金,约瑟夫·普利策遗赠,主席理事会的几位成员捐赠,伊莲·L·罗森伯格和史蒂芬森家庭基金会捐赠,2003福利基金,以及来自多位捐赠者的其他捐赠和资金,2004年
  • 藏品编号: 2004.442
  • Curatorial Department: European Paintings

Audio

仅适用于: English
Cover Image for 5162. Madonna and Child

5162. Madonna and Child

Duccio Di Buoninsegna, 1290-1300

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STEPHAN WOLOHOJIAN: I always remind people that this painting could be held. It's smaller than a sheet of notebook paper. It was for private devotion.

Hello. I’m Stephan Wolohojian. I’m Curator in Charge of European Paintings.

NARRATOR: This powerful image shows Mary, the mother of Jesus...

STEPHAN WOLOHOJIAN: Who looks out knowing very much what's ahead for her son, who tugs at this refined veil, very much a premonition, perhaps, of the shroud, of the burial cloth that would be his end.

DR. SHANNEN DEE WILLIAMS: I’m always fascinated by depictions of the Madonna and Child.

My name is Dr. Shannen Dee Williams, I am an associate professor of history at the University of Dayton.

STEPHAN WOLOHOJIAN: So, this moment of beginning is already allowing the beholder to think about the end, the very nature of her sorrow and her life, and the wisdom that comes with motherhood.

DR. SHANNEN DEE WILLIAMS: [Mary]speaks to a universal experience.

I identify as a Black Catholic Woman who is also a historian of Black Catholic Women.

NARRATOR: In this painting, Mary’s skin has a green cast. But that doesn’t reflect its original appearance. Over time, the flesh tones have been lost, so that a green underlayer called Terra Verde dominates.

DR. SHANNEN DEE WILLIAMS: I grew up in a predominantly white southern suburban parish. So much of the Catholic iconography that I encountered depicted the holy family as Europeans, which is not historically accurate.

NARRATOR: Exploring these galleries further, you’ll notice that other images of the Virgin present her with features that evoke a European ideal, rather than reflecting her origins in the Holy Land.

DR. SHANNEN DEE WILLIAMS: So for me, one question that I always had to ask myself is, well, if this iconography is showcasing what is divine, what does it mean when that divinity is only rooted in whiteness, in Europeanness? If this Europeanness comes to signify holiness and purity then what does African and later Blackness come to signify?

NARRATOR: Still, according to Dr. Williams, Black Catholics have found ways to see themselves within a visual tradition that has often excluded them.

DR. SHANNEN DEE WILLIAMS: Mary is the mother of the church, but she’s also a suffering mother. Regardless of how she is depicted, and what skin color or whatnot, there are these universal themes that speak to so many people, that speak across cultures.

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