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성모자상

ca. 1290–1300
On view at The Met Fifth Avenue in Gallery 635
시에나의 대가 두초의 이 정교한 작품은 성모자상을 현실적으로 묘사한 그림이며 서양미술의 변모 순간을 나타내고 있습니다. 두초는 미술이 신성한 존재의 상징적 그림이어야 한다는 비잔틴식 사고에서 벗어나 새로운 인간미를 묘사한 그림을 통해 어머니와 아이 간의 심리적 관계를 탐구합니다. 이 그림 도안의 초기 예 중에서도 이 흉벽은 감상자의 현실적 세상과 그림의 가상적 세계를 연결해 줍니다. 원래 액자에는 작품 앞에 켜둔 종교의식용 촛불로 인해 탄 자국이 남아 있습니다.

Artwork Details

Object Information
  • 제목: 성모자상
  • 아티스트: 두초 디부오닌세냐, 이탈리아, 활동기 1278– 1 318년
  • 연대: 1300년경
  • 재료: 목판에 템페라 및 금;
  • 크기: 총 27.9 × 21cm, 색칠된 표면 23.8 × 16.5cm
  • 크레디트 라인: 매입, 로저스 기금, 월터와 레오노르 아넨버그 및 아넨버그 재단 기증, 릴라 애치슨 월러스 기증, 애넷 드 라 렌타 기증 해리스 브리스베인 딕, 플레처, 루이 V. 벨, 및 다지 기금 조지프 퓰리처 유증, 복수의 회장위원회 일원 기증, 일레인 L. 로젠버그 및 스티븐슨 가문 개단 기증, 2003년도 자선 기금 여러 기증자로부터의 기증 및 기금, 2004
  • 작품 번호: 2004.442
  • Curatorial Department: European Paintings

Audio

다음에서만 사용 가능: English
Cover Image for 5162. Madonna and Child

5162. Madonna and Child

Duccio Di Buoninsegna, 1290-1300

0:00
0:00

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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