PORTRAITS OF THE RENAISSANCE 

This early Renaissance paintings by Lorenzo Veneziano depicts Mary embracing baby Jesus. Both Mary and Jesus are depicted as European descent, which is not accurate historically, because in fact they were both Jewish. Color, texture, and pattern elements are brought together by Veneziano to construct this beautiful portrait.

In Campin's The Madonna of Humility, he depicts Mary and Jesus surrounded by books, flowers, and a hedge. This portrait from the late 15th century, uses a variety of design principles such as balance, variety, and emphasis. The balance of the painting is seen with different items around both Mary and Jesus. Variety is implemented through these same items, and the scenery. Campin emphasizes Mary and Jesus by giving them halos.

Francesco Botticini's Madonna Adoring the Christ Child depicts Mary praying over he new baby given to her by God. Both are given halos to signify their sainthood or deity. Botticini gives the painting space by giving spacial perspective and scale.

Raphael's The Small Cowper Madonna sets mother and her baby in the countryside. Something different about this painting is that both the mother and child do not have halos like other Madonna and child, which could mean that these are not representations of Mary and Christ. What is noticeable about this piece is the color and emphasis of both subjects, are extremely detailed and beautifully painted.

This early 16th century Mary and Christ painting was created by Francesco di Cristofano Giudicis, which illustrates Mary and Christ with halos. What is interesting about madonnas of the Renaissance, most are always wearing red and the Christ child is seen naked. Giudicis' Madonna and Christ Child balances color, texture, and form with beauty.

In this madonna portrait not only is Mary and Jesus seen together, but also St. John is included in Bacchiancca's Madonna and Child with St. John. Here Bacchiancca illustrates Mary holding baby Jesus while John reaches up toward Jesus, wearing an animal skin over his arm. The color of the subjects seems to be really washed out. This effect emphasizes them with a high contrast.

In the 16th century Andrea del Sarto and his assistants painted Madonna and Child with Saint John the Baptist illustrates Mary holding Jesus, while John and Jesus hold a crucifix. John is pictured here with a leather belt and all the subjects have halos. The rhythm and unity of this piece brings everything together.

In Lotto's Madonna portrait, Mary and Jesus have a closer illustrated relationship. This is seen though Lotto's inclusion of Christ breastfeeding from his earthly mother Mary. Another difference seen is this paints the color of Mary's dress, and cloak are different than many other representations of Mary in portraits. Also Christ is seen swaddled instead of completely nude.

The early 16th century painting The Holy Family with the Infant Saint John the Baptist, Angolo Bronzino illustrates both of Christ's earthly parents, which is a seldom occurrence. None of the subjects are wearing halos, which is also a seldom occurrence when the artist clarifies who the characters of the artwork.

Andrea del Sarto's Madonna and Child with St. John uses color to emphasizes Mary, which is a important figure of the Catholic faith. She is seen here embracing Jesus her son, while looking down toward John the Baptist, Jesus' cousin.