Art Both Duccio Di Buoninsegna Term Paper

Pages: 4 (1384 words)  ·  Bibliography Sources: 4  ·  File: .docx  ·  Topic: Art  (general)

Manchester: Manchester University Press, 1997, p. 1; 6]

The underlying messages and meanings of the two paintings are different. Lippi is showing Jesus as the bearer of the Book, which is the doctrine of the Roman Catholic Church. The book occupies the center point of the composition. Also, the eye is drawn to the background because the left leaf of the book points to a scroll that one of the angels is holding. The scroll and the book together refer to the Catholic teachings. Lippi is not painting the maternal love between Virgin Mary and Baby Jesus, as de Buoninsegna does. Unlike Lippi, di Buoninsegna is concerned more with the ability to convey universal maternal love. The purpose of the de Buoninsegna painting of the Madonna is to portray the love that Mary has for Jesus and vice-versa. For Lippi, the purpose of the painting is more political: to discuss the supremacy of Church doctrine and to show that Jesus is the Logos (Divine Word). Madonna's love is the more important subject to di Buoninsegna, whereas Jesus is the more central subject for Lippi. Lippi accomplishes his subject matter by portraying baby Jesus as the only figure in the composition who is looking directly at the viewer.

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These two paintings show the evolution of artistic composition and artistic ability. In di Buoninsegna's painting, the artist does not have a good sense of perspective. For example, the mother's hands are poorly rendered and appear too long, whereas the baby's head looks too small in proportion to its body. If the artist purposely rendered Jesus with his head too small, such as to make Jesus to look more like a little man than like a baby, then he would not have also depicted Jesus as a typical baby reaching out to touch his mother. By the time Lippi produced the "Madonna and Child Enthroned with Two Angels," artists had grasped perspective and form with more finesse than they had one hundred and fifty years before. The figures in Lippi's painting appear more realistic and softer than the stiff images on the di Buoninsegna painting.

Term Paper on Art Both Duccio Di Buoninsegna Assignment

The Lippi composition is far more cluttered than the di Buoninsegna one, which has ample blank space. By drawing attention only to the Madonna and child, the viewer contemplates motherly love to the exclusion of most other Christian themes. There are few colors in di Buoninsegna's palette too. On the other hand, Lippi wants the viewer to contemplate various aspects of the Church including its written Logos (Word), which is embodied in both Jesus and the Bible, which he holds. The studious angels in the background also serve to remind the viewer of the importance of dogma and doctrine, not motherly love. The artist uses a range of colors, from deep blues and reds to white and gold.

Paintings of Madonna and Child can differ radically in terms of their theme and composition; this is especially true of di Buoninsegna's "Madonna and Child" and Fra Filippo Lippi's "Madonna and Child Enthroned with Two Angels." The latter is a Church-sponsored Renaissance painting that emphasizes Jesus and the study of the Catholic doctrine. The former draws from Byzantine art and centers on maternal love as the foundation of Mary's message. Both pieces are religious art from Italy, but they are rendered in completely different ways. The differences reflect several important issues in the evolution of European art, including improvements in composition and perspective. Equally as important are the differences in the role of the Church in religious art and iconography.

Works Cited

"Duccio di Buoninsegna: Madonna and Child (2004.442)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- . (September 2010)

"Fra Filippo Lippi: Madonna and Child Enthroned with Two Angels (49.7.9)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -- . (August 2007)

Paoletti, John T. And Radke, Gary M. Art in Renaissance Italy. Laurence King Publishing, 2005.

Tinagli, Paola. Women in Italian Renaissance Art: Gender, Representation, Identity. Manchester: Manchester University Press, 1997

Wolfflin, Heinrich. The art of the Italian Renaissance:… [END OF PREVIEW] . . . READ MORE

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