Madonna Enthroned (Cimabue)
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| Madonna enthroned |
|---|
| Cimabue , 1272-1274 |
| Tempera on wood |
| 385 × 223 cm |
| Uffizi Gallery , Florence |
The Madonna Enthroned , also called Madonna Enthroned with Angels or Maestà di Santa Trinita , is a Madonna picture of the Maestà type , which was created by the Italian painter Cimabue for the Church of Santa Trinita from 1272 to 1274 . It is now in the Uffizi Gallery in Florence.
Image description
The Enthroned Madonna by Cimabue is a large-format panel with a roof-like frame shape. It shows an enthroned Madonna with the baby Jesus , surrounded by angels. A background is missing; the people stand in front of a gold background, which was often used between the 5th and 15th centuries as a symbol of the divine realm and here encloses the figures and objects in the picture.
The picture is composed in such a way that the structure of the throne and the picture frame result in a balanced unit. The Mother of God is enthroned in the center and is depicted in perspective of meaning , i.e. H. According to her salvation-historical significance, the Mother of God is shown larger than the figures around her. The framing figures tilt their heads in symmetrical turns. Apart from the side figures at the foot of the picture, they make no eye contact with the enthroned Madonna. The throne under the feet of the Madonna opens into the abyss. Due to the arrangement of the figures, they seem to float. The Madonna's facial expression is still lacking an individual characterization. The painting is still characterized by a given face and gesture formula that corresponds to traditional Byzantine art.
classification
The Enthroned Madonna by Cimabue is often compared to the Ognissanti Madonna by Giotto di Bondone , who is about 35 years younger . Both representations are similar in form. By comparison, however, Giotto's Madonna appears to be one of the earliest paintings to suggest a development towards the Renaissance . In contrast to the Enthroned Madonna by Cimabue, the Giotto Madonna has individual features due to the implied smile, which even teeth can be seen on closer inspection. Here, too, a representation in the perspective of meaning is chosen. In contrast to Cimabue, however, the saints and angels standing around the enthroned Madonna seem to be standing firmly in the room.
Single receipts
- ^ Nerdinger, p. 51
literature
- Nerdinger, Winfried: Perspektiven der Kunst , Oldenbourg 2006, ISBN 3-486-87517-5
