Madonna and Child enthroned with donor 1470

Carlo Crivelli painted this Madonna and Child enthroned with donor in the late 15th century. Immediately, one is struck by the formal geometric organisation: the Madonna sits centrally, framed by architectural elements and garlands of fruit. A serene, vertical stability is set against the dynamism of the fruit and architectural ornamentation. Crivelli was working during the early Renaissance when new ideas about realism were emerging, yet he maintains a distinctive style. Look at the surface of the Madonna's dress: Crivelli uses a refined, ornamental patterning that is as much about surface decoration as it is about realistic representation. The fruit is also noteworthy. Positioned as a backdrop, it functions as a semiotic device – a system of signs – that symbolises the divine and offers visual cues to interpret the painting. Crivelli masterfully blends the old and the new, intertwining flatness and depth, symbolism and realism. This intermingling suggests that the artwork is not only an aesthetic object but a cultural artefact that reflects the complex negotiation between tradition and innovation.