A Virgem e o Menino

ca. 1290–1300
On view at The Met Fifth Avenue in Gallery 635
Esta bela obra feita pelo mestre sienês Duccio determina uma fase da transformação da pintura ocidental em que representa as imagens sagradas da Virgem e o Menino como personagens da vida real. Afastando-se do conceito de arte da pintura bizantina que viu como uma imagem simbólica de um ser divino, Duccio infundiu nas suas imagens uma nova humanidade explorando a relação psicológica entre mãe e filho. O balaústre—um dos primeiros exemplos deste instrumento pictórico—conecta o mundo imaginário da pintura com o mundo real do observador. A moldura original mostra sinais de queimadura causada por velas que devotos acendiam na frente da imagem.

Artwork Details

Object Information
  • Título: A Virgem e o Menino
  • Artista: Duccio di Buoninsegna, italiano, ativo 1278–1318
  • Data: ca. 1300
  • Meio: Têmpera e ouro sobre madeira
  • Dimensões: Dimensões totais 27,9 x 21 cm, superfície pintada 23,8 x 16,5 cm
  • Linha de créditos: Compra, Fundo Rogers, doações de Walter e Leonore Annenberg e da Fundação Annenberg, doação de Lila Acheson Wallace, doação Annette de la Renta, Fundos Harris Brisbane Dick, Fletcher, Louis V. e Bell e Dodge, legado de Joseph Pulitzer, doações de vários membros do Conselho de Presidente, doações de Elaine L. Rosenberg e da Fundação da Família Stephenson, Fundo Campanha de 2003, e outras doações e fundos de vários doadores, 2004
  • Número de acesso: 2004.442
  • Curatorial Department: European Paintings

Audio

Disponível apenas em: 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.

    Listen to more about this artwork

More Artwork

Research Resources

The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.

To request images under copyright and other restrictions, please use this Image Request form.

Feedback

We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please contact us using the form below. The Museum looks forward to receiving your comments.

Send feedback