Tura's Virgin and Child Enthroned
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1 a In Tura's Virgin and Child Enthroned, the artist creates a space that is nearly all foreground, but hints at limitless heavenly skies behind what is shown. In Botticini's Assumption of the Virgin, the artist combines earthly space, presented in perspective, and heavenly space, which takes the form of a strange dome and does not attempt to present space in a convincing manner. The result is that, even though Botticini's earthly landscape is relatively naturalistic, he fails to integrate the heavenly and earthly spheres very well and this adds to the exaggerated effect of the semi-circles in heaven. Because Tura's composition is so much more rigorous, he is able to suggest the limited depth of his foreground with the placement of the chunks of architecture and the angels that are set about on them. Then, behind the pierced facade on which the heavenly beings sit, the sky-blue, which is lighter in the lower portions (much like a real, cloudless sky), can suggest limitless space beyond. This is a much more convincing solution to the problem of representing heaven than Botticini's version.1 b Botticini's figures, although they are rather stylized, are more naturalistic than those of Tura. Tura's figures are all idealized and have a flatness and sameness of expression that fails to attract the viewer. The Virgin and child seem as remote as the angels around them. The figures of the Palmieris in Botticini's painting are the most naturalistic and, thus, they, along wi
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sembles a real landscape filled with human activity. The figures are much less stylized. Dominic and Jerome are firmly placed on the ground and the Virgin, though her seat is invisible, also seems anchored to the real world. Rather than exaggerated, bright colours, her robes feature richer tones than anything else in the painting. These colours do not make her figure jump out of the scene, they merely allow her to dominate it.
3 b Filippino Lippi essentially presents a better, and more naturalistic, solution to the problem of how to represent a supernatural event. He addresses the same basic artistic problem as the other three painters considered here. But his solution advances past the attempt to represent the sacred realm as somehow visually different from the world. The formal and abstract architectural spaces created by Tura and Filippo Lippi, as much as the circular vision of Botticini, call attention to themselves as unnatural--rather than conveying a feeling of the supernatural.
Filippino's location of the event in the real world is also important because it is better suited to the iconography of the Virgin and Child. After all, the miracle of Christ that is celebrated by all these images, is that he was born to
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Some common words found in the essay are:
Palmieris Botticini's, Matthew Portico, Assumption Virgin, Seven Saints, Apostles Palmieris, Church Christ's, Apostle James, Jerome Dominic, Virgin Child, Blessed Heaven, virgin child, romanesque sculpture, central portal, figures heaven, romanesque art, botticini's painting, st james, romanesque churches, jambs central portal, santiago de, earthly landscape, st james lesser, tympanums romanesque churches, santiago de compostela, romanesque art york,
Approximate Word count = 2652
Approximate Pages = 11 (250 words per page)
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