Madonna and the lamb of god - by Christopher Kensil

This gallery includes paintings from the High Renaissance period (1495-1520) that depict the Virgin Mary and baby Jesus in various settings. These pieces capture some special moments between Madonna and Christ child and includes a couple family portraits as well.

The Virgin and Child with the Baptist and an Angel, Paolo Morando, probably about 1514-18, From the collection of: The National Gallery, London
Depicted is the Virgin Mary holding baby Jesus while he reaches for a lemon presented to him by St. John the Baptist. An angel in the background is witnessing the moment. This piece shows a special moment between Mary and baby Jesus. Emphasis is used to highlight Jesus reaching for a lemon given to him by St. John. Using three-dimensional dynamic form and symmetrical balance, Morando places Mary and Jesus in the foreground while St. John and the Angel are on either side behind them. Literal soft textures are used to enhance the realism of the scene. Movement of your eyes naturally flow from Jesus then Mary then to the rest of the painting. Harmonious unity of all design principles is used perfectly to show the weaning process for baby Jesus.
Depicted is the holy family receiving a donation. Mary is seated on a chair holding Jesus who is standing on her leg. Joseph stands behind her. Kneeling on the ground is St. John on one side and a donor woman on the other. Both are praying. In front of Mary is the donor woman's son who is holding a cat on a leash. The emphasis in this painting is Mary and Jesus. They are shown directly centered in the piece. Color is used quite well with both primary and secondary hues represented. Dossi shows great contrast with the dark colored clothing worn by Joseph, St. John and their guest against Mary's blue and gold mantle. These dark colors surrounding Mary highlight her facial expression and ensure the naked Jesus is the center of attention. Dossi further contrasts the scene using linear perspective. Represented in the background is a cloudy sky, blue water and beach. This works to frame the scene well while maintaining eye movement back to Mary and Jesus.
The Virgin and Child Enthroned, with Four Angels, Quinten Massys, about 1506-9, From the collection of: The National Gallery, London
Depicted is Madonna sitting on the golden throne reading a book to Jesus while two angels hovering above are getting ready to crown her. On each side of the throne are two angels playing music during the ceremony. Primary emphasis in this painting is the Virgin Mary seated on the throne with baby Jesus in her lap. Massys gives this emphasis to Mary and Jesus using proportional size. Secondary emphasis is the two angels that are preparing to crown Mary. Mary and the angels stand out well due to good use of contrast with the golden throne. Vertical lines showcase the throne in all its splendor. Balance is symmetrical with Mary, Jesus and the angels evenly distributed. Soft textures work well with the figures and clothing to make the scene very lifelike. This painting shows a good use of variety to portray the holy crowning of Mary as she reads to baby Jesus.
The Virgin and Child in a Landscape, Jan Provoost, early 16th century, From the collection of: The National Gallery, London
The painting depicts Mary sitting on a bench with Jesus in her lap. Mary is admiring her holy son while Jesus is playing with a toy. A pot of carnations sits next to them. There is a beautiful landscape in the background with residents going about their daily activities. Positive space is used very well in this paiting. Provoost uses linear perspective by showcasing Mary and Jesus in the foreground and the beautiful landscape in the background. Emphasis is used by placing Mary and Jesus directly in the center of the painting. This features Mary's facial expression showing the pride she feels for Jesus. It also emphasizes Jesus' happy gesture while playing with the toy. While viewing this piece, your eye is drawn to Mary and Jesus, then naturally you begin to notice the beauty of their surroundings. Soft textures are used to provide the realism and serenity of the scene. The painting is harmonious. It represents the pleasure of motherhood Mary feels as she gazes at the playful holy child.
Madonna and Child, Marco d' Oggiono, c1490, From the collection of: Auckland Art Gallery Toi o Tāmaki
Depicted is Madonna seated holding baby Jesus in her lap. Jesus is breast feeding while the proud Virgin Mary watches over her son. A mixture of horizontal, vertical and diagonal lines are used in this painting. This allows your eye to move naturally as you view this piece. Emphasis is placed on Mary as she consumes the majority of the space. Jesus' face is centered in the middle of the painting directly below Mary which provides normal eye movement from Jesus to Mary then the rest of the piece. Soft textures give realism to Jesus' skin and hair, Mary's hair and hands and her mantle. Hues and values are used well to provide the right amount of contrast between all components of this piece. The unity of all elements and principles captures the special bond of Mother and baby during breast feeding.
The Rest on the Flight into Egypt with St. John the Baptist, Fra Bartolommeo (Baccio della Porta) (Italian, 1472 - 1517), about 1509, From the collection of: The J. Paul Getty Museum
The painting depicts Joseph and Mary seated outside on the ground resting. Mary is holding baby Jesus while he accepts a cross from St. John the Baptist. This is another example where the mixture of lines brings the painting to life. The diagonal illustration of St. John gives the feeling of movement as he presents the cross to Jesus. Emphasis is Jesus accepting the cross from St. John. Bartolommeo uses three dimensional form well in this painting. Linear perspective is used to show how far Joseph and Mary have traveled from Bethlehem before stopping. Positive space fills up the canvas providing plenty of realism to the scene. Bartolommeo represents the holy family in a very relaxed manner portraying their holy son as the center of attention wherever he goes.
Madonna and Child, Giovanni Antonio Boltraffio, ca. 1495–1496, From the collection of: Museum of Fine Arts, Budapest
Depicted is Jesus reaching for an unknown object while sitting atop a table. Mary is holding him steady while glancing in the direction of Jesus' reach. Color and value play a huge part of how the figures are represented in this painting. Boltraffio darkens out the background to provide full emphasis on Mary and Jesus. This creates negative space around them to ensure the attention of the viewer is on the subjects only. The vertical angle of Jesus brings his reach outside of the picture providing a three dimensional effect to his movement. Balance is symmetrical giving both Mary and Jesus equal weight and emphasis. Boltraffio doesn't show the object that Jesus is reaching for leaving it up to the imagination of the viewer. The expression he gives to Mary makes us understand that it's something special or magical. This obviously is a very holy moment between Mother and son.
Mary with the Child, Andrea del Verrocchio, 15th cent., From the collection of: Gemäldegalerie, Staatliche Museen zu Berlin
Depicted is Madonna sitting outdoors with Jesus in her lap. Jesus is stretching his arms reaching for his Mother while she proudly gazes back at him. The emphasis in this painting is baby Jesus reaching out for this Mother. Verrocchio uses primary and secondary hues with light values to render both subjects very lifelike in the scene. Soft textures are used on baby Jesus' skin to enhance this effect. Good use of positive space highlights Mother and son using all areas of the foreground. Linear perspective is used to show the scenery in the background and mountains off in the distance. Movement naturally flows from Jesus and Mary and their facial expressions. All elements and principles are used well to heighten the bonding moment between the holy child and Madonna.
Madonna and Child in a Landscape, Giovanni Battista Cima da Conegliano, circa 1496 - 1499, From the collection of: North Carolina Museum of Art
Depicted is the Virgin Mary seated outdoors holding the naked Jesus who is standing in her lap. Battista makes great use of vertical and horizontal lines to capture this special moment between Mary and Jesus. Symmetrical balance is used along with linear perspective. This brings attention to the subjects in the middle of the painting while also showcasing the beauty of their surroundings. Emphasis is on Jesus' expression as he looks at his mother. Dynamic form is used to illustrate Mary holding the bottom of Jesus' foot which further enriches the bonding of Mother and Child. Excellent use of variety throughout the entire painting. The portrait is harmonious all around. The look Jesus gives to his Mother is one of respect, gratitude and love.
The Virgin and Child (The Madonna of the Book), Sandro Botticelli, 1480, From the collection of: Museo Poldi Pezzoli
Depicted is the Virgin Mary indoors reading a book to Jesus who is looking back at her with a cheerful stare. Botticelli makes great use of positive space by incorporating not only Mary and Jesus, but other elements such as the book and bowl of fruit. Overlapping perspective is used to give a three dimensional feel as the subjects are seated by the window. The dark hue of Mary's mantle contrasts well with Jesus and the clear blue sky shown out the window. Botticelli uses soft textures to augment the feel of Mary's clothing. The gold halos draw eye movement to Mary and Jesus. Emphasis is once again placed on Jesus and the loving stare he gives to his Mother. The divine connection between Madonna and Jesus is apparent when analyzing this painting.
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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