Cimabue - The Virgin and Child with Two Angels

Florentine Gothic painter Cimabue was born into the Byzantine tradition (gold backgrounds, iconography etc.). Art had favored narrative and symbolism over naturalism. It was a didactic tool for the Bible. The medieval period saw heavily-stylised almost-exclusively religious scenes; viewed largely by an illiterate population. It didn’t matter that it didn’t look “realistic” — as long as it was easy to interpret. Important characters needed to be readily identifiable across all art forms and symbols were the means of comprehension.

Cimabue marks a shift towards what will be termed the renaissance. Giotto was Cimabue’s apprentice and he would push these developments further. 

Interesting things to note:

1. The throne is painted at an angle which gives some sense of depth. It is revolutionary compared to the more traditional Hodegetria. In the maestà, the Madonna has one foot on one step and the other on a lower step. The angle of uppermost step points her foot/shoe in a direction.
2. The golden aureate background is there — but it seems a bit awkward. It disjoints the illusion; the angel’s foot and the last leg of the throne can’t be seen.
3. As opposed to the Madonna pointing at Christ, there is some tenderness with the baby touching his mother’s hand.

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NOTE: This post is part of the “Gothic and Proto-Renaissance period” on the National Gallery collection. This is the oldest works of art in the museum’s collection.