Madonna and Child by Paolo di Giovanni Fei

Madonna and Child 1370s

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tempera, painting

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portrait

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tempera

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painting

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figuration

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madonna

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child

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history-painting

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italian-renaissance

Dimensions Overall, with engaged frame, 34 1/4 x 23 1/4 in. (87 x 59.1 cm); painted surface 27 x 16 7/8 in. (68.6 x 42.9 cm)

Curator: Oh, this one always stops me in my tracks. We’re looking at Paolo di Giovanni Fei’s "Madonna and Child," likely painted in the 1370s. It's tempera on a panel, a classic of its time. What’s your immediate reaction? Editor: Severe. Intensely, solemnly severe. She stares straight through you, doesn’t she? And that gold leaf! It's so rich, yet it somehow enhances the austerity. Curator: Right? It's that Byzantine influence, that hieratic quality they strived for back then. Look at her gaze – meant to convey divine serenity and spiritual authority, all within a rigid, structured setting designed for devotional contemplation. Editor: Contemplation, maybe... But the child nursing seems almost... earthbound by contrast. His focus is less spiritual, more... practical. Almost jarring next to her remote beauty. Curator: It’s a fascinating tension, isn't it? It grounds the divinity, brings the ethereal Virgin Mary into the realm of earthly motherhood, making her relatable to contemporary viewers. Think about the role this panel likely played: meant for private devotion, to humanize a spiritual figure through a tender intimate action for worshipers. Editor: That makes sense. You know, what really gets me are the details – those tiny punches in the gold, the way the paint seems almost powdered. You can really feel the hand of the artist, laboring away. Did many workshops produce devotional images such as this? Curator: Absolutely. Images like this played a vital role in both the artist's practice and societal spirituality. Workshop productions would follow these basic templates and spread devotion further and farther with less personalized artistic flourishes. I like to consider those small variations of detail that would distinguish art between studios. Editor: The Met's framing gives it even more gravity, somehow. I mean, gold reflecting on gold, setting off her golden features. It's beautiful in a way, even if unsettling. Thanks for shedding some light! Curator: Anytime. It makes you consider faith in a specific socio-historic moment. Always worthwhile.

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