Finally, we glance briefly ahead, to indications that the venerable half-length Madonna would yield to new types of religious scenes in succeeding years and that the authority of religious imagery, indeed all imagery, would shift toward a new locus: the artist and his artistry.
That is what Duccio di Buoninsegna’s Madonna and Child painting is known as today.
Originally, the painting was held in the private hands of Adolphe Stoclet and his wife.
When the couple died, their house and their collection went to their son, Jacques who held onto the painting, and passed it down to his daughters who lent it to an exhibition in Siena of Duccio and his school.
There are countless paintings of the Virgin and Child from that time period, probably because of the power and influence of the church at the time.
People were much more The space, too, shows signs that this painting is from the Renaissance.Art critics were also interested in this work they even consider Madonna and Child one of Duccio’s perfect works, and it said to be worth all the other paintings exhibited under the name of Duccio (Christiansen 14). The Madonna and Child painting’s iconography, imagery, emotional appeal to the viewers, and meaning all make this painting still a great work of art today. “The Metropolitan Museum of Art bought the Madonna and Child for forty-five to fifty million dollars” (Tomkins 1). However, the painting was not always in public hands; in fact, the Met purchased the last known work of Duccio in private hands. The textbook gave me background on the culture during the thirteenth century, and the meaning behind some of Duccio’s paintings. There is clearly a recession in space, although it is seen mostly in the landscape beyond the main subject.But even in the foreground, the use of diagonals to create architectural perspective on the columns and on the tiled floor gives the feeling of looking back into space.The painting is rectangular in shape and appears to be about two feet long by maybe a foot and a half wide.It is oil painted on wood and it looks to be in very good condition.The following sections look at images of the Virgin and Child created up to the early decades of the sixteenth century in Venice and Florence, respectively, and the different artistic traditions of the two cities reflected in them.We explore the ways the images functioned in public and private devotions and how icons were transformed into more intimate kinds of devotional objects.