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・ Madonna (...And You Will Know Us by the Trail of Dead album)
・ Madonna (1999 film)
・ Madonna (2015 film)
・ Madonna (art)
・ Madonna (book)
・ Madonna (Edvard Munch)
・ Madonna (entertainer)
・ Madonna (EP)
・ Madonna (Madonna album)
・ Madonna (studio)
・ Madonna Acres Historic District
・ Madonna Acres Historic District (Raleigh, North Carolina)
・ Madonna Adoring the Child with Five Angels (Botticelli)
・ Madonna albums discography
・ Madonna and Child (Botticelli, Avignon)
Madonna and Child (Duccio)
・ Madonna and Child (Lippi)
・ Madonna and Child (Masaccio)
・ Madonna and Child (van Dyck)
・ Madonna and Child and Two Angels (Botticelli)
・ Madonna and Child Enthroned (Filippo Lippi)
・ Madonna and Child Enthroned with Saints (Raphael)
・ Madonna and Child Playing with the Veil
・ Madonna and Child with a Donor (van Eyck)
・ Madonna and Child with an Angel (Botticelli)
・ Madonna and Child with Saints (Signorelli, Arezzo)
・ Madonna and Child with Saints Luke and Catherine of Alexandria
・ Madonna and Child with saints polyptych (Duccio)
・ Madonna and Child with St. Anne (Dei Palafrenieri)
・ Madonna and Child with St. John the Baptist and St. Mary Magdalene


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Madonna and Child (Duccio) : ウィキペディア英語版
Madonna and Child (Duccio)

This work of art was painted by one of the most influential artists of the late 13th and early 14th century, Duccio di Buoninsegna. This iconic image of Madonna and Child, seen throughout the history of western art, holds significant value in terms of stylistic innovations of religious subject matter that would continue to evolve for centuries.
== Description and influences ==

Duccio’s ''Madonna and Child'', or ''Stoclet Madonna'', has only been widely acknowledged as Duccio’s work for the past century, and accessible to scholars for only half a century.〔Christiansen, Keith. "Recent Acquisitions, A Selection: 2004–2005." Metropolitan Museum of Art Bulletin 63 (Fall 2005), pp. 14–15, ill. on cover (color, cropped) and p. 14 (color).〕 Comparing the compact size of this work of 11X8 1/8 in. to larger, more illustrious altarpieces and large scale frescoes, the ''Madonna and Child'' is understood to be an intimate, devotional image. Some evocations of this understanding come from the burnt edges on the bottom of the original engaged frame caused by burning candles that likely would have sat just beneath.〔Christiansen, Keith. "The Metropolitan's Duccio." Apollo (London, England) 165.(2007): 40-47. Art Full Text (H.W. Wilson). Web. 18 Apr. 2012.〕 Looking past the abrupt simplicity of the image, one can begin to understand the changes Duccio was applying to the depiction of religious figures in painting during the early 14th century. Duccio followed other innovative Italian artists of the time like Giotto, both of whom strove to move beyond the purely iconic Byzantine canon and attempted to create a more tangible connection between the viewer and the objects in the painting. For example, the parapet that sits at the bottom of the painting works as a visual enticement for the viewer to look past and into the moment that is captured between the Virgin and Christ Child. At the same time, the parapet also acts as a barrier between the vernacular world and the sacred.〔

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