The image is simple: The subject matter is religious and concerns a host of holy figures surrounding the Madonna with an infant figure of Christ on her lap. “Madonna and Child with SST. John the Baptist and Angel” is similar in that other LOL figures are gathered to pay their respects to Christ but the scene is more open and less focused on just the two central figures. “Madonna and Child” in my opinion is therefore a more complex composition, where instead of having two recognizable figures in the Christian religion, there are three and an angel.
In “Madonna and Child”, the other religious figure of SST. John the Baptist is also allowed to stand near the holy mother and child, and an angel is present. Because of this, the viewer contends with a literal story rather than a simple image as in “Madonna Enthroned”. Also in Polio’s image, where the central usuries are larger and better seen, there are religious symbols used. The same might be true in Gusto’s work but the details are harder to distinguish.
Visual Form and Style The style and the form Of these two paintings reflect the development Of the artistic techniques during the Italian Renaissance. While both reflect a Biblical theme With a central focal point Of the Madonna and Child, “Madonna Enthroned” has a key image that is best viewed from a central position and “Madonna and Child” has a greater degree Of importance over the majority Of the surface of the canvas. In “Madonna and Child]’ the viewer does not perceive hat an image is being forced upon them as is found in the work by Ghetto.
A use of light and space is also key to preventing the Puling piece from being “forced”, where the organization of distance visibly removes the viewer from “Madonna Enthroned” while drawing the viewer into the painting in “Madonna and Child Color also serves a similar purpose, where Gusto’s work is monochromatic but ocher while Polio’s work carries a greater expression through the detail involved. The mood Of these two pieces is remarkable in that color does not play as great an importance as the figures surrounding the focal point of the Madonna and
Child. These figures are both essential to the composition Of the piece, but in “Madonna Enthroned” the viewer is left thinking that the Madonna and Child are truly untouchable. The mood of this piece, while certainly not “dark”, does not inspire any. Even the angels by either side are careful not to come near the holy woman and child. In “Madonna and Child]” however, the entire composition is subject to accessibility, where the mood is light and extremely pleasant.
Finally, the faces in both pieces are of particular note, where in “Madonna Enthroned” the faces of the Madonna and the Christ child look as though they are made of tone. It is difficult to see the faces tooth other figures as clearly, but there is no visible emotion on their faces, The piece by puling is a sharp contrast, where the figures all appear to be content To consider Polio’s figures as being emotionally “happy” might be impossible, but it is evident that those in the picture are at peace.
I personally come away with a large measure of respect for the Ghetto piece but can connect more with “Madonna and Child” Conclusion As noted in the Introduction, these two pieces can be seen as presenting an astonishing look at the effect that the Italian Renaissance had on the placement of painting. The work by Ghetto is representative of the earliest stages Of the Renaissance, where art was accomplished mainly to provide the viewer with a glimpse at the divine.
As such, the majority of art from that era featured either Biblical scenes or the artist’s wealthy patron. In contrast, the paintings found at the end of the Renaissance, such as “Madonna and Child with SST. John the Baptist and an Angel”, are far more open in terms of what was acceptable in the artistic community. The brief centuries of the Renaissance had provoked an interest in perspective and composition, meaning that Polio’s piece can be seen as having a greater sense of artistic “merit”. Madonna and Child has more depth and movement, and the viewer perceives human characteristics in the figures presented therein. In Conclusion these paintings do indeed reflect the historical and artistic climate of the period. The choice of these pieces as demonstrating the wide range of changes that occurred during the Renaissance is perfect: Viewers of these two distinctive works of art have a visual demonstration of the development of art and painting during a relatively brief period of time.