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Madonna and Child with Donors

Cecco%20di%20Pietro%2C%20%3Cb%3E%3Ci%3E%20Madonna%20and%20Child%20with%20Donors%3C%2Fi%3E%3C%2Fb%3E%2C%201386%2C%20tempera%20on%20wood%2C%20Gift%20of%20the%20Samuel%20H.%20Kress%20Foundation%2C%20public%20domain%2C%2061.44
Cecco di Pietro, Madonna and Child with Donors, 1386, tempera on wood, Gift of the Samuel H. Kress Foundation, public domain, 61.44

Cecco%20di%20Pietro%2C%20%3Cb%3E%3Ci%3E%20Madonna%20and%20Child%20with%20Donors%3C%2Fi%3E%3C%2Fb%3E%2C%201386%2C%20tempera%20on%20wood%2C%20Gift%20of%20the%20Samuel%20H.%20Kress%20Foundation%2C%20public%20domain%2C%2061.44

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Details
Title

Madonna and Child with Donors

Artist

Cecco di Pietro (Italian, active 1370-died before 1402)

Date

1386

Period

Late Medieval (ca. 1250-ca. 1500)

Medium

tempera on wood

Dimensions (H x W x D)

48 3/4 in x 21 in

Inscriptions & Markings

inscription: Cecchus Petri de Pisis Mepisit AD MCCCLXXXVI, painted in media, along bottom of painting frame

Collection Area

European Art

Category

Paintings

Object Type

painting

Culture

Italian

Credit Line

Gift of the Samuel H. Kress Foundation

Accession Number

61.44

Copyright

public domain

Terms

amulets

Christ-child

goldfinch

Knights of Malta

Madonna

paintings

portraits

Samuel H. Kress Foundation

tempera

wood

Place Made

Created in: Pisa

Location

Belluschi Building

Ayer Wing

2nd Floor

Ronna and Eric Hoffman Gallery

Description

This symbolic and richly ornamented panel reflects the continuation of Italo-Byzantine conventions in the early Renaissance. The repetition of color creates a pattern which is enhanced by the elaborately tooled gold haloes and borders. In the panel, Jesus holds a goldfinch, a symbol of his future sacrifice, and wears a coral amulet as protection against evil.

Two donors, one a Knight of Malta, and the other possibly a high-ranking official, kneel in the lower corners. These early examples of portraiture illustrate the increasing importance of the individual during the Renaissance. However, their placement at the periphery and tiny scale serve to confirm the difference in status between the human and the divine that persisted in the 14th century collective conscience.

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