Sano di Pietro (Italian, Sienese, 1405–1481). <em>Madonna of Humility</em>, early 1440s. Tempera and tooled gold and silver on panel with engaged frame, 20 7/8 × 14 1/4 in. (53 × 36.2 cm). Brooklyn Museum, Gift of Mary Babbott Ladd, Lydia Babbott Stokes, and Frank L. Babbott, Jr. in memory of their father Frank L. Babbott, 34.840 (Photo: Brooklyn Museum, 34.840_SL3.jpg)

Sano di Pietro (Italian, Sienese, 1405–1481). Madonna of Humility, early 1440s. Tempera and tooled gold and silver on panel with engaged frame, 20 7/8 × 14 1/4 in. (53 × 36.2 cm). Brooklyn Museum, Gift of Mary Babbott Ladd, Lydia Babbott Stokes, and Frank L. Babbott, Jr. in memory of their father Frank L. Babbott, 34.840 (Photo: Brooklyn Museum, 34.840_SL3.jpg)

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How does the iconography/style reflect the early Renaissance movements?

You can see that it still incorporates silver and gold from medieval iconography, but is adding a sense of realism to the faces of the figures. It shows not only the graceful linear forms that characterize Sienese painting, but also the powerful effect of Florentine realism in the pliant muscularity of the Child and the sense of observed reality in the head of the Madonna.

Sano’s active workshop was the principal source in Siena for devotional images of the Madonna and Child.

Interesting. And then it continues the medieval style of having similar facial expressions on the figures depicted?

Yes, the facial expressions are still pretty static especially when you compare them to later Renaissance painting.

I find the contrast of the colors - the Virgin's cloak and Christ child's skin - so striking. It really gives the figures a sense of other-worldliness.The relationship of the figure to the frame is also innovative. The Madonna and child appear to hover before the arch of the frame by design as the frame was an integral part of the work (known as an engaged frame). By appearing to float in the viewer’s space, the Madonna and Child achieve a greater sense of tangibility and accessibility. This is in keeping with the Madonna seated on the ground theme (Madonna of Humility), which evokes a caring and humble mother.

How is the iconography/style of this work typical of the early Renaissance movement?

What a great question! You can see that this painting incorporates a silver and gold background, typical of earlier Medieval and early Renaissance religious painting. The basic pose of the Mother embracing her son with his arm tugging at her neck goes back to Byzantine icons (or Christian images). However, unlike Medieval and earlier pictorial conventions, this painting depicts highly three-dimensional figures in a slightly more naturalistic style. This painting shows not only the graceful linear forms that characterize Sienese painting (like in the outline of the Madonna's cloak), but also the powerful effect of Florentine realism in the pliant muscularity of the Child and the sense of observed reality in the head of the Madonna.

Something to note is that Sano’s workshop was the principal source in Siena for devotional images of the Madonna and Child.

Interesting. And then it continues the medieval style of having similar facial expressions on the figures depicted?

Yes, the facial expressions are still pretty static, especially when you compare them to later Renaissance painting.

I find the contrast of the colors between the Virgin's cloak and Christ's skin so striking. It really gives the figures a sense of otherworldliness.

I did too. It's almost as if the natural folds that occur in Mary's clothing are consumed by the black color, while the vivid white folds are very clear for Christ.

Yes, I totally agree.

Is there any significance to the depiction of the child Jesus with more fat on his body? Historically, we know that he was born to the working class, so it is a little unrealistic to have that much fat as a child.

The figures are idealized, especially Christ, emphasizing his divinity. But the Christ child is not particularly fat, rather his body type recalls the way children were shown in antique sculpture. In the Renaissance painters and sculptors were interested in ancient sculpture as models.

That sort of harkens back to the Gospel of John and the early medieval styles of the Throne of Wisdom, which is stark contrast with the later popularity of the Pieta.

Actually in this painting the Madonna is seated on a cushion, signaling modesty, while at the same time the Madonna is seen as the Queen of Heaven in terms of her expensive and beautiful blue robe. And Michelangelo's Pieta certainly evokes a very different approach to piety focusing on emotion and expression.

It almost reminds of a piece in the Egyptian exhibit where a mother holds her son (a future king in her lap) and they face different directions. It's almost as if this painting signals a unity between mother and child, and the Egyptian sculpture shows one a caring but coarse relationship.

That's nuts! I was just about to refer you to Pepy II in the Egyptian galleries for the very same reason! It shows the King seated on the lap of his mother. The two are facing different directions, giving both authority by creating two different frontal views. It's on the third floor.

Yes, that's exactly the one I was speaking of! I just couldn't remember the name.

It is argued by a few scholars that the iconography of Christ seated on the Madonna's lap was inspired by the Egyptians, particularly the Maria Lactans (the Madonna breast feeding the Child) seen in Egyptian iconography of the Goddess Isis.

That's very interesting, especially insofar as the flight to Egypt is considered in the Gospels.

What do the red, winged figures symbolize?

Those are Cherubim, which are very common in religious Renaissance paintings. They are a type of angel. They are usually depicted as cute, round faced angels with red wings. They are regarded in traditional Christian symbolism as an angel of the second highest order of the ninefold celestial hierarchy. But here they are depicted as winged heads. They were originally painted silver, but over time tarnishing has made them turn more reddish.

I like the Madonna of Humility, that look on her face.

She seems serene and also powerful at the same time. Typically, the Madonna’s face expresses sweetness and a certain sadness, foreshadowing the harsh fate of her infant child. The 'trope' for the Madonna of Humility often will show Mary seated modestly on the ground, or a cushion, emphasizing her humility and compassion for mankind.

Does one need a good reading of the Bible to really appreciate European art from this time period?

It is certainly extremely helpful as most people knew the Bible through preaching, images or scripture. However, you can certainly appreciate the beauty of the Madonna’s expression, the treatment of the cloth and brilliant illusionism, as the figure appears to float through the frame against the golden angel without referring to a religious text. In many cases such images were designed to evoke an expression of faith on behalf of the beholder especially those (such as this one) that were meant for private devotion at home. The faithful often prayed in silent devotion or read from a book of hours before such images. In turn the image was meant to watch over them, help grant their prayers and afford comfort.

Humility is so rare in a narcissistic age. It's a real gem.

True, however, much of this art had a sort of "propagandistic" agenda, if you will. Paintings like this were commissioned by churches so that people who were illiterate could still get the gist. Or, adults would commission such paintings for their homes to inspire their family members (think rowdy children) to behave with humility. Seeing the Virgin Mary as a humble figure was meant to inspire humility in the followers of Christ--not necessarily the most sincere way to inspire humility in people!

That's a great insight, I like that context.

There was a Russian modern piece that I like too. It was a father drunk or tired, with his two babies/kids on the floor. Russian Art. There's a sadness but truth behind it.

Ah, yes! The piece by Viola Pushkarova, you're following a theme, Soviet Realism was definitely propaganda.

I should look at all art, and ask is this propaganda first? Could you tell me more about that piece, was it meant to solicit sympathy and empathy for the Russian family, working class?

That's definitely a good question to ask! Not all art is, of course, but it's a way to look deeper and consider the meaning behind the work. Regarding the Pushkarova, Soviet Realism was the only artwork deemed acceptable by the Soviet Union. The painting shows a young man, exhausted from being a good Soviet citizen, he has finished his studies, worked hard and taken care of his family.

The art is not so much to solicit sympathy as it was meant to inspire others to be as good a citizen as this man, he is exhausted from being a good, model Soviet man. It was, again, more of an advertisement, like the Madonna of Humility. While this is one way of reading it, perhaps Pushkarova had another deeper message. Can you really be the perfect citizen? Can the government be asking the impossible? Afterall, who is really watching the kids, if the husband is dosing?

Wow! I looked at it and thought he's drunk and is neglecting his children, but now I withhold that judgement.

Wow, that's so interesting! Because I know about the history of Soviet Realism I never would have thought of that but I totally get why you would see that.

Of course, out of Soviet Realism came the push-back of the Russian Revolution and art completely changed--that was when the Bolsheviks called for a power to the working class, sort of what you were saying before. You can see some of that on view in Agitprop!, if you make your way to the 4th floor at any point this evening.

I think throughout history a lot of government funded art tried to boost morale.

Oh, totally! I mean, during the Great Depression in the US the WPA funded art was totally propagandistic.(Although the creative response of the artists often defy sheer propaganda). Also, on the 5th floor in American Art we have a large Bierstadt painting that was propaganda to inspire people to travel out west during Westward Expansion and Manifest Destiny, it happens all the time. It is also an expression of the sublime, so once again, great artists can defy mere propaganda.

Thanks, I'll try to check out that special exhibition after the film.

Madonna of Humility

Sano di Pietro

European Art

On View:

This early Madonna is unusual in Sano’s prolific career in that it shows not only the graceful linear forms that characterize Sienese painting, but also the powerful effect of Florentine realism in the pliant muscularity of the Child and the sense of observed reality in the head of the Madonna. The Madonna of Humility refers to images of the Virgin seated modestly on the ground (usually, as here, on a cushion), emphasizing her humanity and motherhood, as opposed to the Madonna Enthroned, which presents her as the Queen of Heaven.

As was common in other images of this genre, this Madonna is surrounded by cherubim, junior members of the family of angels and often depicted as winged heads. Here, they are painted in silver, whose tarnishing adds to their otherworldly effect. With the expanding and contracting of the wood panel over the past six centuries, a knot in the wood has emerged, pushing forward the area of the panel around the Child’s eye.

ARTIST Sano di Pietro, Italian, Sienese, 1405–1481

MEDIUM Tempera and tooled gold and silver on panel with engaged frame

Place Made: Italy

DATES early 1440s

DIMENSIONS 20 7/8 × 14 1/4 in. (53 × 36.2 cm) frame (frame/body/object): 27 1/2 × 19 1/4 × 3 1/2 in. (69.9 × 48.9 × 8.9 cm) wallmount (as mounted 2024 on storage and display board): 32 × 25 in. (81.3 × 63.5 cm) (show scale)

COLLECTIONS European Art

ACCESSION NUMBER 34.840

CREDIT LINE Gift of Mary Babbott Ladd, Lydia Babbott Stokes, and Frank L. Babbott, Jr. in memory of their father Frank L. Babbott

PROVENANCE Prior to 1927, provenance not yet documented; by 1927, acquired by Frank Lusk Babbott of Brooklyn, NY; 1933, inherited from Frank Lusk Babbott by Mary Babbott Ladd, Lydia Babbott Stokes, and Frank Lusk Babbott, Jr.; May 9, 1934, gift of Mary Babbott Ladd, Lydia Babbott Stokes, and Frank Lusk Babbott, Jr. to the Brooklyn Museum.

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MUSEUM LOCATION This item is not on view

CAPTION Sano di Pietro (Italian, Sienese, 1405–1481). Madonna of Humility, early 1440s. Tempera and tooled gold and silver on panel with engaged frame, 20 7/8 × 14 1/4 in. (53 × 36.2 cm). Brooklyn Museum, Gift of Mary Babbott Ladd, Lydia Babbott Stokes, and Frank L. Babbott, Jr. in memory of their father Frank L. Babbott, 34.840 (Photo: Brooklyn Museum, 34.840_SL3.jpg)

IMAGE overall, 34.840_SL3.jpg. Brooklyn Museum photograph

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