"Sienese Quattrocento Virgin Of Tenderness"
Very beautiful Virgin and Child,
Sienese School of the Quattrocento,
Tempera on oak panel
This is a devotional work, still steeped in Gothic painting and assimilated to the Italian pre-Renaissance.
In the style of Sano di Pietro, and closer to Notre Dame de la Grâce de Cambrai.
This Virgin of tenderness, Eleousa type, made in tempera on an oak panel.
It measures 35 x 29 cm framed and 22 x 17.5 cm at sight, and is in a generally good condition of preservation,
despite some localized alterations.
We can consider her as an Eleousa icon, because of the tenderness with which the Virgin is depicted, which makes her a kind of intimate portrait highlighting the strength of the bond that unites her to her Child. This closeness and mutual devotion of mother and child, stemming from the Byzantine tradition, also accords with the ideals of the Quattrocento On a gold background and framed at the waist, Mary is dressed in a dark blue dress with red borders with golden patterns, which also covers her hair like a veil. Two golden rosettes adorn this dress, on the right shoulder and at the top of the hood. His forehead is also surrounded by a red headdress forming a headband. Through the sleeves of her blue coat protrude those of a red dress, also adorned with borders at the wrists. His eyes are not split almond (marking the end of the Byzantine influence), his long and straight nose, his small mouth and his short chin give him an expression of sweet melancholy. Her head, tilted to her left, nestles against the Child's cheek and forehead, almost as in a kiss. The young boy, delicately supported by his mother's two slender-fingered hands, the right under her buttocks, the left behind her back, which holds her against her heart, is represented as a real baby, the proportions justifying the small dimensions of her head. He is wrapped in a pale red sheet which leaves his left arm and leg free. Although turning his eyes towards the viewer, he responds with his attitude to the affectionate care of his mother. With his left hand, he seized the edge of his mother's hood at the level of the neck, while the right, stretched upwards, came to support her chin by touching it from below. Her left leg is bent towards her mother's chest, while the right is stretched out. Two nimbus designating the holy and sacred character of the characters surround the heads of the Virgin and the Child, squared for the mother, radiant for the son...