Madonna and Child

The artwork I studied at the Phoenix Art Museum for this assignment was Jacopo Del Casentino’s Madonna and Child. Jacopo Del Casentino painted this work using tempera on poplar panel. The painting was completed in 1335. The portrait is Jacopo Del Casentino’s interpretation of the Madonna and baby Jesus. The piece is in fairly good condition, however the tempera is flaked in close proximity to the panel. The size of the portrait is fairly large and focuses closely on the two subjects. The images are large and centered, allowing the two figures to become the focal point of the panel. There is little symmetry and pattern in this work of art.
The Madonna in the painting is interestingly complex. She is clothed in a black hooded cloak that covers her backside and surrounds her body, while revealing a light-colored garment underneath. The undergarment is light crème in color, trimmed with gold on the collar and sleeves. A small part of her hair is exposed, and a large halo rests on top of her head. The halo is one-dimensional and decorated with a gold leaf pattern, much like a Roman crown, suggesting nobility or royalty. Interestingly, the halo, and gold trim on the collar, are interrupted by a circular shape. Madonna’s face is solemn, calm, and emotionless. Her cheeks are rosy in comparison to her pale skin. Her eyes are longing and empty, a monumental hint of the sacrifices she has endured. The body language she possesses tells the viewer that she is a loving mother. This can be seen by the way her hand is placed on the infant Jesus’ leg and backside.
The infant Jesus, like the Madonna, is very intriguing. The child is small, but has a very manlike demeanor. His face is serious and prominent, with a heavy look in his eyes. The eyes are gazing ahead with raw, emotional sadness, almost predicting the future that lies ahead for him. The halo around his head is similar to the one seen on the head of the Madonna, except the baby’s halo is designed with lighter touch and contains a swirl decorative motif. His clothing is a vibrant orange and red combination. His bare feet are exposed below his dress; his right hand is raised above his head, signaling a command of peace and prayer. In his left hand, he grasps a scroll, signifying the responsibility given to him by his Father: to carry out the word of God to the people.
The background of the portrait is a golden color. Gold makes the other colors seen on images stand out boldly. An altar-like chair is grand and holds the sitting forms of the Madonna and Child. The significance of the large, gold, altar chair suggests the strength and structure of Christianity and how it was based on the life of Christ Jesus and his Virgin Mother of God.
This work is not humanistic or realistic, but rather the artist’s impression of the popular subject of the Mother and Child. The folds seen in the clothing are barely noticeable, and are very unrealistic. When looking closely at the cloak of Madonna, one can see only a blob of color on her frame. The images and details are clearly organized and very appealing to the inspecting eye. Underneath the cloak of the Madonna, a red floral or star-like shape appears to come through the dark black tempera of Jacopo Del Casentino’s brush.