Madonna in Glory - Sandro Botticelli. 120 x 65 cm
The painting "Madonna of Glory" is a vivid example of Botticelli's manner of writing - borrowing some elements from other artists of his time in combination with his copyrighted finds.
The work introduces us to Mary with the baby Jesus in her arms. Interpreting the image of the Madonna makes Botticelli related to Verrocchio and Filippo Lippi. The latter was a teacher of Botticelli. In particular, the author borrows from Lippi such an element of clothing as a veil. Since then, an almost transparent veil will often appear on the canvases of the painter. Botticelli also follows Lippi in the image of Madonna's robe. It is known that Filippo Lippi sought to “humanize” the holy images, bringing them closer to real people. That is why the Madonna’s robe freely falls from her shoulders, forming folds - Mary looks like an ordinary woman, a townswoman.
However, it is worth looking at her face, and then miracles begin, created by the brush of a talented master who is subtly sensitive and able to convey the subtlest emotions to the viewer. Madonna's eyes are covered in pain, her head drooped, as if in front of us a fragile flower. Our Lady looks touching and defenseless, and her body, although drapery, gives the figure plasticity, as if ethereal, weightless. Botticelli also introduced innovative features into the image - he emphasized the subtlety of the hands and lengthened the proportions of the figure.
The background of the picture is represented by the sad, mournful Cherubim, who formed a kind of arch, a halo around Mary. This is a hint of selectivity, humility and glorification of the heroine. Madonna sits on the clouds.
The face of the Savior baby is serious and sad. He raised a chubby hand as a sign of blessing. On the halo of Jesus, you can see the cross - a reminder of how this earthly life of this baby will end.
Madonna hugs her son with graceful hands, trying to protect her from all suffering. But the sadness that is read in her half-open eyes tells the viewer - she knows that he will die for the sins of the world. The picture is very emotional, especially in the aesthetics of the Renaissance.
For a very long time, the work was exhibited at the Uffizi Gallery without attribution, and the time of creation was determined by art historians from 1784 to 1825. Later studies, which were based on modern methods and technical capabilities, allowed to regain the painting of its author, an outstanding Renaissance painter Sandro Botticelli.