デンドゥール神殿は4月26日(日)から5月8日(金)まで閉館となります。メトロポリタン美術館フィフス・アベニュー館は5月4日(月)に休館となります。

ご来館の計画

聖母子

ca. 1290–1300
On view at The Met Fifth Avenue in Gallery 635
シエナの巨匠ドゥッチョによるこの逸品は、聖母マリアと聖子を現実の視点から表し始めた西洋美術変革の時代の代表作です。ドゥッチョは、絵画を神聖なる存在の象徴として捉えたビザンチン様式から離れて、絵の中の人物像に新たな人間性を見い出し、母子間の精神的な関係の模索を試みています。この作品は絵画で欄干が使われた最も早い例ですが、それが絵の中の仮想の世界と鑑賞者の現実の世界とを結び付けています。制作当時からある額縁には、作品の前でともされたロウソクの火による焼け跡が見られます。

Artwork Details

Object Information
  • 題: 聖母子
  • アーティスト: ドゥッチョ・ディ・ブオニンセーニャ イタリア、活動期1278–1318年
  • 月日: 1300年頃
  • 手法: 板にテンペラ絵具と金箔
  • 寸法: 全体 27.9 x 21 cm、画面 23.8 x 16.5 cm
  • 提供者: 購入、ロジャーズ基金、レオノーレ・アネンバーグとアネンバーグ財団より助成、ライラ・アチソン・ウォレスより助成、アネット・デ・ラ・レンタより助成、ハリス・ブリズベーン・ディック基金、フレッチャー基金、ルイス V. ベル基金、及びドッジ基金、ジョセフ・ピューリッツァー遺贈、参事委員会の会員数人より助成、エレーン L. ローゼンバーグ及びスティーブンソン・ファミリー財団より助成、2003年ベネフィット基金、及びその他の寄贈者からの寄贈及び助成、2004年
  • 受け入れ番号: 2004.442
  • Curatorial Department: European Paintings

Audio

以下でのみ利用可能: 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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