Madonna Enthroned With Child, Between St. Mark and St. Lawrence (Triptych, Vittore Crivelli 1440 - 1502 Italian Painter, Renaissance XV Century
This room is dedicated to the Venetian painter Vittore Crivelli, (Venezia, 1440 ca – Fermo 1502 ca) the minor brother of Carlo Crivelli.
Here we have a tryptych with The Madonna & Child With St. Mark and Lawrence.
The other saints are:
St. Placid (1482-1490)
St. James of the Marches (1482-1490)
St. John The Baptist (1482-1490)
St. Leonard (1482-1490)
In this room there are also three wooden sculptures a pair of angels made of wood (XVII - XVIII) a beautiful "Madonna and Child", dating from the late sixteenth and early seventeenth century plus a Piety (XVII - XVIII) and some Madonnas /XVII-XVIII) and bedside tables and chests (XV - XX)
Vittore Crivelli (Biography)
Vittore Crivelli was born in Venice in the XV century, he was the minor brother of Carlo Crivelli He left Venice in the year 1479 and moved to the Marches region, at the service of Ludovico Euffreducci of Fermo. His style was close to Carlo.
He specialized in stunning altarpieces for minor cities, in very close connection with the Franciscan order. Several important works of high quality, such as the polyptychs for Sant’Elpidio a Mare and San Severino Marche, were created in those years. In his paintings,
Vittore showed a particular tendency towards classical culture and the construction of three-dimensional spaces.
The Tryptych:
In the centre panel there is the Virgin with the Child enthroned, on the left there is St Mark and on the right St Lawrence.
The apples symbolise the fertility,
The white flowers are a symbol of purity.
Looking carefully at the child we see that he is baptising with his left hand, on the right hand he holds a globe, this means the he is baptising the world, and he wears a green dress.
The Madonna looks at us because she wants that we think about the sacrifice of her loved son, he died for saving the entire world, which is populated by people of every race and creed.
She wears a crown a precious gem and a golden dress, to notice are her beautiful and long hands, she holds the child on her knee, it seems to me that she is protecting jesus as every mother, but everyone knows his noble destiny.
On the right panel there is St Mark the Evangelist.
He was not a member of the twelve apostles, he was also a disciple, when he was young.
He wrote the Synoptic Gospels, this is the reason why Vittore has depicted him with his fingers on the book and with the classical winged lion.
In painting St Mark has the aspect of a mature man with a white beard and ancient dress.
His festivity is every 25 April.
On the left there is St Lawrence.
He was a martyr and deacon, according to the legend he was tortured on a red-hot gridiron.
As in this case St. Lawrence is represented as a young deacon dressed with a green rich dalmatic.
His main attributes are, the book, a gridiron, palm branch and alms. His festivity is every 10 August.
He is invoked against fires and lombago.
He is also the protector of the librarians, booksellers, fire fighters etc
Apples in Art
"Many other fruits appear in Western painting, all having some possible symbolism. The most recognizable, and perhaps the most widely used, is the apple. Because the Latin word for “apple” and “evil” are the same—malum—the apple was associated with the Tree of Knowledge from which Eve ate forbidden fruit, causing the downfall of Man. The infant Jesus is frequently depicted with an apple (32.100.57; 1982.60.47) to signify his role as Redeemer from sin and death.
In a Madonna and Child by Carlo Crivelli (49.7.5), a festoon of apples and a cucumber-like gourd represent the triumph of Salvation over Damnation: the gourd was associated with the former because in the biblical story of Jonah, God caused a gourd to grow over the prophet’s head as a shelter.
The apple is not the only fruit proffered by the figure of Christ in painting: often he holds a pomegranate, cherries—which could allude both to the child’s sweetness and to the sacrifice of his blood—or a quince (08.183.1). The quince was sacred to the ancients as an attribute of Venus and an emblem of marriage and fertility, and according to Pliny a cutting from the quince tree would form another tree when planted. It was thus associated with immortality."
Source: Food & Drink In European Paintings (1400-1800)
The Metropolitan Museum Of Art
Vittore Crivelli Is Also In The Following Museums
Essays & Fact Sheet On Vittore Crivelli's Paintings:
Un dipinto sconosciuto di Vittore Crivelli: il San Sebastiano e devoti
di Montegiorgio (Francesca Coltrinari - Università Degli Studi Di Macerata)
A Good Biography Of Vittore Crivelli & A Detailed Explanation Of St. Anthony Abbot 1481c - 1483*
*Part of the "Monteprandone Polyptych" & St.Ursula (fig.1) Stolen From the Pinacoteca Civica di Ripatransone (1983)
(Uploaded by Alessandro Del Priori - Università Degli Studi di Firenze)
Polittico dell’ Incoronazione della Vergine 1480-1489
(Incoronazione della Vergine, San Bonaventura da Bagnoreggio,
San Giovanni Battista, San Francesco, San Ludovico da Tolosa,
ordine inferiore; Cristo morto tra la Vergine Addolorata
e San Giovanni evangelista, Sant’Antonio da Padova, Sant’Elpidio,
Maddalena, San Bernardino da Siena, ordine superiore;
Storie del Battista, predella)
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