Anonymous - Untitled - IRUF001

The iconography of motherhood is closely linked to the subject of the Madonna and Child. It is probably one of the most popular iconographies in the history of both Western and Eastern art. The Madonna and Child appears since the dawn of medieval painting and remained a constant subject as long as religious themes dominated artistic production (that is, until the 19th century, when themes inspired by everyday life began to be introduced). In this work, a particular type of iconography is chosen: in fact, compared to the more traditional one in which the Child is depicted in the Madonna's arms, in this work the Virgin Mary appears adoring Jesus. This type of representation, therefore, favors a more sacred aspect, with a specific reference to the Child's divine nature, rather than a familiar and domestic scene.

This work, inspired by the subject of the Madonna and Child, is executed by the artist with an exquisitely classicist interpretation. The artistic language, in fact, draws inspiration from classical Greek and Roman antiquity, as well as its revival during the Renaissance. All this translates into an execution whose primary objective is mimesis, that is, the human need to imitate and reproduce nature, that which surrounds us. Along with naturalistic rendering, the other fundamental concept, according to the parameters of Classicism, is that of the unity of the work of art, through a harmonious correspondence between all its parts. We can also see a clear reference to Renaissance classicism, particularly that of the sixteenth century, in the accentuated monumentality of the figures. Above all, the figure of the Madonna appears structured by an almost Michelangelo-esque fullness of volume, enhanced by the very ample drapery of her robe. Formally, the artist displays excellent technique in the rendering of the figures, freely and naturally inserted into the space. The brushstrokes are soft, blending the subjects into the atmosphere and creating a suggestive interplay of light. In defining the space, the artist introduces a touch of contemporaneity, creating an almost abstract landscape: sparse vegetation nestles against a deep blue background. The use of lapis lazuli, in addition to being another reference to the Renaissance painting tradition, makes this work even more precious, also in terms of the materials employed.

As we can see from an analysis of this work, the artist is deeply inspired by the Italian Renaissance painting tradition. His pictorial language thus has a clear classical influence, with precise references to sixteenth-century art.

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