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BOTTICELLI. "MADONNA & CHILD WITH ADORING ANGEL"
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Analyzes 1468 painting from early Italian Renaissance.... More...
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Paper Abstract:
Analyzes 1468 painting from early Italian Renaissance.

Paper Introduction:
This paper will analyze the painting Madonna and Child with Adoring Angel (c. 1468), by Sandro Filipepi Botticelli. The work consists of tempera paint on panel and it stands at 35 x 26-3/4 inches. The subject matter of the painting shows Mary affectionately holding the baby Jesus while a nearby angel looks on. The context of the work is the early Italian Renaissance. In contrast to the strictly religious themes of the medieval period, the early Renaissance was a time when humanism was becoming increasingly important in painting. In addition, the early Renaissance saw the development of increased naturalism in terms of pictorial style. Botticelli was born in about 1444 or 1445 and he died in 1510. He was a Florentine painter who is closely associated with the patronage of the Medici family. The Madonna and Child with

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In particular, the three figures in the workconvey facial expressions and gestures which help to heighten the emotionalimpact of the subject matter. Botticelli's paintings also show a unique approach to the treatmentof anatomy. It has also been noted that theearly Renaissance period marked a shift from the treatment of anatomy whichwas typical during the medieval period. Monographs on Artists: Botticelli.Campbell Dodgson, trans. (1989). This paper will analyze the painting Madonna and Child with AdoringAngel (c. Salvini has noted thatthe early Madonnas painted by Botticelli show the progress of the artist in"developing greater formal beauty and restudying problems in form"(Salvini, All the Paintings, 1965, p. 2. (1969). In addition, the earlyRenaissance saw the development of increased naturalism in terms ofpictorial style. The work as a whole inspires the viewer with religiousawe. Thus, in hisearliest depictions, Botticelli often showed Mary embracing the baby Jesus"timidly, as if fearing to touch a holy thing" (Steinmann, 19 1, p. Bydepicting Mary with the baby Jesus and an adoring angel, Botticellicaptured the overall theme of praise and respect for the savior ofhumankind. 16). However, it must be emphasized that the perspective of Botticelli isnot entirely "flat." Through the use of subtle variations in light,Botticelli creates a sense of linear perspective which contrasts thespatial perspective of later works by other artists. Argan hasnoted that this style of building up the background in "oblique, divergent,zigzag lines" helps the eye to focus on the foreground subject matter inBotticelli's works. Keller has pointedout that the early Renaissance period was a time during which artists beganto explore secular as well as religious themes (p. Specifically,Botticelli's linear style helps the viewer to share in the expressiveemotions of the painting's figures. Botticelli's linear compositionemphasizes the centrality of the figures and thus emphasizes theirexpressiveness. Abrams. In this regard, it may benoted that Botticelli's style shows a "lack of concern with deep space" inits "shallow modeling and the emphasis on outline producing an effect oflow relief rather than of solid three-dimensional shapes" (Janson, 1991, p.483). In contrast to the strictly religious themes of themedieval period, the early Renaissance was a time when humanism wasbecoming increasingly important in painting. However, this too shows Botticelli'sposition as a transitional figure between medieval and Renaissance art.Specifically, his individuality as an artist is yet another reflection ofthe humanistic concerns which were rapidly developing at the time. Hartt, Frederick. Rather than being simply focused on religious awe, this sense ofemotion is also concerned with the feelings of a mother for her child.Steinmann has noted that the early Madonnas of Botticelli show a gradualdevelopment in the closeness of Mary for her infant son. The warmth and closeness of mother and child are emphasized by thefact that they are posed cheek-to-cheek. In addition, Botticelli's use of linear perspectivecontributes to the emotional impact of the work. New York: McGraw-Hill, pp. 52).Keller has claimed that the pictorial composition of Botticelli's earlyworks often centers around "vertically oriented blocks of figures" (p.114). 19) . New York: Hawthorn. Encyclopedia of World Art.Vol. Thefunction of this work, aside from providing Botticelli with a vehicle forartistic experimentation, is to merge an important religious theme withhuman concerns. The content of this painting shows early Renaissance values in thatit merges religious concerns with a sense of humanism. Steinmann, Ernst. Steinmann has indicated that Botticelli's early Madonnas clearlyreveal "the process of the painter's gradual emancipation from alieninfluences" (p. New York: Lemcke & Buechner.----------------------- 8 W. Thus, Botticelli's early experimentations in paintingled to the development of his own unique approach to Renaissance art.Although the influences of his contemporaries can be seen, the progressionof Botticelli's work shows that "his stylistic connections with otherartists became increasingly vague as he attained a completely personallanguage" (Salvini, Encyclopedia of World Art, 196 , p. Anthony F. 555). In this regard, Botticelli'searly paintings show the influence of such contemporaries as Verrocchio andAntonio Pollaiuolo, as well as his teacher, Fra Filippo Lippi. Hartt notes that Botticelli often elongated his figures,depicting them "with long necks, torsos, and arms and sloping shoulders"(p. Italian art. Mary is warmly embracing her child, and theinfant Jesus is returning the embrace while gazing lovingly up at hismother. 74). However, this depiction is not strictly symbolic oriconographic as it would have been during the medieval period. The subjectmatter of the painting shows Mary affectionately holding the baby Jesuswhile a nearby angel looks on. History of Art. However,Botticelli did not simply copy the style of these other early Renaissancemasters. This technique can be seen inMadonna and Child with Adoring Angel in that the three figures of the workare not only linked by a common subject matter but also by the fact thatthey exist on the same line of perspective. Chastel, Andre. However, in contrast with theseother artists, Botticelli's use of the line is "lighter, purer, anddevelops a more poetic liberty" (Chastel, 1963, p. 579-59 . (1963). The context of the work is the earlyItalian Renaissance. (196 ). Wolf,trans. In the medieval period, figureswere often flat and rigid; during the early Renaissance they became morefluid, with "a new, free, natural range of movements and gestures" (Keller,1969, p. At the same time, however, this pictorial superficiality is mergedwith a sense of "linear rhythm" which replaces spatial depth with emotionaldepth. The mother has a loving smile onher face, although her somber expression also conveys a sense of the"presentiment of coming woe" which will occur when Jesus becomes a man andis crucified (Steinmann, 19 1, p. In the Madonna and child with Adoring Angel, this vertical emphasiscan be seen in the straight line which is formed by the positioning of theangel, child and mother. 582). As such,Botticelli's painting shows a transition from the flat, linear style of themedieval period to the three-dimensional style which was characteristic ofthe high Renaissance. London: Faber & Faber. This style of depicting human figures is clearly evident in hisMadonna and Child with Adoring Angel. It may be noted that many of theelements of style which are visible in Madonna and Child with Adoring Angelare unique to Botticelli himself. Peter Murray and LindaMurray, trans. Theuniqueness of Botticelli's approach to style can be seen in the Madonna andChild with Adoring Angel. Hewas a Florentine painter who is closely associated with the patronage ofthe Medici family. Botticelli. Abrams. In contrast to the facial expression of the Madonna, the angel'sappearance serves as a reminder of the religious nature of the baby Jesus.The sober look of adoration on the angel's face seems to be fixated on theidea that the baby will eventually grow up to be the savior of the humanrace. The affection in this scene isheightened by the presence of the angel in the lower left portion of thepainting. Keller, Harald. New York: Harry N. An emphasis on the use of line is an important aspect in all ofBotticelli's work. In this, the artist was strongly influenced byPollaiuolo and his other contemporaries. 2 9). Thus, the arrangement ofthe shapes in the background building (especially the archway) serves toframe the subjects of the work. The angel is leaning into the central image of the mother embracingher child. 13). However, it does this without alienating the viewer. Rather, in a manner which is typical of Botticelli's style,the hills and river of the background landscape almost seem to be stackedon top of one another rather than receding into the distance. The form, style and content of Botticelli's Madonna and Child withAdoring Angel all contribute to the overall effect of the work. In the words ofSalvini, Botticelli often painted in such a way that "the outside lineblends into the light, thus joining the figure pictorially with thebackground" (Salvini, All the Paintings, 1965, p. Janson, H. Botticelli was born in about 1444 or 1445 and he died in 151 . All the Paintings of Botticelli. The building, as well as the landscapewhich is visible beyond the archway, do not sharply recede in a spatialperspective. As such, it can be seen that Botticelli'spurpose in creating the work was to experiment with the new elements ofRenaissance art which were developing at the time. Part I.John Grillenzoni, trans. References Argan, Giulio Carlo. (19 1). (1991). 1468), by Sandro Filipepi Botticelli. Janson,ed. Botticelli. New York: Harry N. In terms ofcomposition, Botticelli was concerned with using linear elements in orderto create "unity of the image" in his paintings (Argan, 1957, p. The form of this work is focused on Botticelli's unique use of linearelements. 4th ed. A bit later in the Renaissanceperiod, it became fashionable to create depth in painting through shadingsin light and color rather than through the positioning of figures andbackgrounds. 1 ). 11). Thus, Botticelli'spaintings tend to consist of a singular plane in which the various figuresare pictorially connected to one another. The work consists oftempera paint on panel and it stands at 35 x 26-3/4 inches. Abrams. This development can be seen in Botticelli's Madonna andChild with Adoring Angel. (1965). This shift invalues was reflected by the increasing naturalism which could be seen inthe paintings of the time. Salvini, Roberto. In this way, the religious aspect of the angel's adoration iseffectively merged with the secular idea of a mother's love for her child. In Botticelli's Madonna and Child with AdoringAngel, the religious aspects can be seen in the basic subject matter. The Madonna and Child with Adoring Angel is an earlywork from Botticelli's career. (1957). Art: A history of painting, sculpture,architecture. Robert E. Salvini, Roberto. In the words of Argan, "though the eye readily perceives theserhythms, it serves merely as an intermediary, transmitting them to theinnermost recesses of our being where they summon up an emotional response"(p. 61). However, with Madonna and Child with Adoring Angel, the mother andchild have reached the point where they are capable of showing a great dealof affection for one another. The background andforeground are clearly distinct in Madonna and Child with Adoring Angel.Nevertheless, the overall effect of Botticelli's style is one in which thefigures seem to be merged with their surroundings. The Renaissance in Italy. The background of the painting does not detractfrom this linear feeling, but rather enhances it. 3rd ed. Massimo Pallottino, ed. 8). James Emmons, trans.Lausanne: Editions D'Art Albert Skira. In fact, agreat deal of human emotion is conveyed by the figures in Botticelli'spainting. New York: Harry N. Thus, Botticelli's painting shows an important step forward inthe development of Renaissance art.

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