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Relevant bibliographies by topics / Madonna and child

Academic literature on the topic 'Madonna and child'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Dissertations / Theses
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Journal articles on the topic "Madonna and child"

1

Bullock, S. "Madonna and Child." English 55, no. 212 (June 1, 2006): 207. http://dx.doi.org/10.1093/english/55.212.207.

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Torpy, Janet M. "Madonna and Child." JAMA 304, no. 24 (December 22, 2010): 2672. http://dx.doi.org/10.1001/jama.2010.1767.

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Martens, Didier. "Deux nouvelles attributions au Maître des Madones joufflues." Oud Holland - Quarterly for Dutch Art History 115, no. 3-4 (2001): 157–66. http://dx.doi.org/10.1163/187501701x00217.

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AbstractThe Master of the Madonnas with the Chubby (cheeks is a Bruges painter from the early sixteenth century who was strongly influenced by Gerard David. Some ten works were attributed to this master on stylistic grounds in 2000. Two further attributions- both of a Madonna and Child - are proposed in this article. The paintings in question are a panel in the Groennigemuseum in Bruges (inv. no. O.GRO. 1358.1, fig. 1), which is derived from a composition, the Lisbon Madonna, by Memling, and a tondo (fig. 2) that was on view at the TEFAF in Maastricht in March of 2001.

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Mezmur, Benyam Dawit. "“Acting Like a Rich Bully”?: Madonna, Mercy, Malawi, and international children’s rights law in adoption." International Journal of Children's Rights 20, no. 1 (2012): 24–56. http://dx.doi.org/10.1163/157181812x608255.

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Although it may seem ironic that a policy affecting so few children should engage so much political and social attention, the symbolic significance of intercountry adoption far outweighs its practical import. A recent reminder of this fact on the African continent is the 2009 Madonna adoption case. This note considers Madonna’s second adoption of a child from Malawi in the light of international children’s rights laws. Although human rights groups have alleged that Madonna was “acting like a rich bully” in the main, Madonna’s adoption can withstand the scrutiny of children’s rights, and in fact, has contributed towards helping the discourse of children’s rights in Malawi “stumble” forward.

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Bader, Claire. "Editorial: Madonna and child." Journal of Clinical Nursing 19, no. 17-18 (August 15, 2010): 2375–76. http://dx.doi.org/10.1111/j.1365-2702.2009.02883.x.

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De Vrij, Marc Rudolf. "De Meester van de Magdalena-legende en de diptiek van Willem van Bibaut." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 73–78. http://dx.doi.org/10.1163/187501794x00350.

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AbstractWithin the range of works attributed to the Master of the Magdalen Legend are a number of Madonnas generally considered to date back to the last decade of the 15th century. All of these pictures are comparatively small and show a rather chubby type of Madonna with the Child slightly out of proportion. The golden backgrounds are punctuated. All these pictures are by the same hand, and are considered to date from the earliest period of the artist's activity. One of these paintings, now in the Mayer-Van den Bergh Museum in Antwerp, shows the Madonna holding the Child at her left breast. There is a second version of this painting on the left-hand panel of a diptych formerly in the Wetzlar collection in Amsterdam. The right-hand panel bears the portrait of a Carthusian monk, and is inscribed Guilelmus bibaucis primas tot [ius] Ordinis Carthusiemum. 1523.. The sitter has been identified as Willem of Bibaut (1484 1535), who became abbot of the Grand Chartreuse monastery in Grenoble in 1521. The portrait was probably painted to commemorate that event. Given that the stylistically very different paintings belonging to the Magdalen altarpiece which gave the artist his name date from the same period, the Madonnas can no longer be regarded as early paintings by the Master of the Magdalen Legend. Apparently they are the work of another artist.

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Cole, Thomas B. "Madonna and Child in a Landscape." JAMA 306, no. 23 (December 21, 2011): 2542. http://dx.doi.org/10.1001/jama.2011.1827.

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Beesley, I. "Born in Bradford: Madonna and child or?" International Journal of Epidemiology 38, no. 4 (July 9, 2009): 917–20. http://dx.doi.org/10.1093/ije/dyp219.

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Thurin, Susan Schoenbauer. "The Madonna and the Child Wife in Romola." Tulsa Studies in Women's Literature 4, no. 2 (1985): 217. http://dx.doi.org/10.2307/463697.

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Higham, Hannah, and Aleth Lorne. "A Terracotta "Madonna and Child with a Book"." Rijksmuseum Bulletin 59, no. 4 (January 14, 2022): 348–67. http://dx.doi.org/10.52476/trb.11486.

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Dissertations / Theses on the topic "Madonna and child"

1

Russell, Sandra E. "Donatello's Terracotta Louvre Madonna: A Consideration of Structure and Meaning." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429041274.

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Fried, Alexandra. "The Swedish Madonnas : a comparative study of wooden sculptures of the Virgin and Child between 1250 and 1350." Thesis, University of Leicester, 2012. http://hdl.handle.net/2381/27642.

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This thesis provides a new overview of the wooden, sculpted image of the Madonna and Child in thirteenth - and early fourteenth - century Sweden. It comprises five parts: a socio-political and economic contextualisation of the images; a critique of the existing literature in the form of an analytical bibliography; a detailed evaluation of the sculptures; a catalogue of selected material; and a bibliography. In Chapter one, the historical examination discusses the Scandinavian context between 1250 and 1350. Scandinavia was then a thriving area, both economically and culturally, and was far less isolated and inward looking than art-historical analyses have hitherto assumed. However, Scandinavia was not a stable region in the period; borders were constantly revised as a result of political and military changes. Trade links also changed and brought with them different influences. Building on the works of Aron Andersson, Andreas Lindblom, C.R af Ugglas, Rune Norberg, Peter Tångeberg, Lena Liepe, Carina Jacobsson and Lennart Karlsson, the bibliographical critique in chapter two will analyse earlier texts that have discussed the sculptures which are the subject of this thesis. The third chapter organizes the sculptures into two main groups, and draws comparisons with international examples. It comprises a visual analysis of Swedish and international comparative material on a scale which has not been attempted before. The fourth chapter is a comprehensive catalogue of the 144 Madonnas dealt with in the text, sorted by region of origin.

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Richards, Emily R. Cranz. "Marine Hybrids, the Lombardo Workshop and the Immaculate Virgin of Santa Maria dei Miracoli, Venice." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1290093592.

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Kryscynski, Kristina Gayle Heiss. "'Seek the Eyes of Mary': A Widow and a Virgin's Illuminating Invitation." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8416.

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A deep visual analysis of Ludovico Carracci’s 1588 Madonna and Child, Angels, and Saints Francis, Dominic, Mary Magdalene and the Donor Cecilia Bargellini Boncompagni with an emphasis on the role of the patron, the significance of the locality, and the visual semiotics of the Virgin Mary’s gaze in prompting conversion in the repentant prostitutes of the Carmelite convertite convent associated with Ss. Filippo and Giacomo in Bologna, Italy. Including a commentary on contemporary social expectations of modest behavior and the painting’s deliberate incorporation of inappropriate female behavior towards a religious purpose. A discussion of uniquely Carmelite iconography, the use of Ignatian mental prayer in convents, and self-determination in imagery by a Bolognese aristocratic woman.

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Astore, Mireille. "The Maternal Abject." University of Sydney. Sydney College of the Arts, 2002. http://hdl.handle.net/2123/500.

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Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.

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葉君儀. "A study of Chang Dai-Chien's Madonna and Child." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/83792263935364037473.

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碩士
國立彰化師範大學
藝術教育研究所
93
Chang Dai-Chien’s Madonna and Child was completed in 1951, at a time when the artist’s creative career is at the initial period when the Republic Party and the Communist Party were at a standoff separated by the Taiwan Strait, where Chang Dai-Chien had surpassed the cross-strait disputes to emigrate to Brazil, in which the Madonna and Child had served as a diplomatic venue seeking for help from the Catholic Church venturing the gaps between the Republic Party and the Communist Party, in a move to forever detach himself form the complex Republican political scenario by migrating overseas. In the course of his move, Chang Dai-Chien’s interpersonal linkage between the two parties is quite self-explanatory. Going up to second elder brother Chang Shan-tze, Wu Pei-fu, Chang Chun, Yu You-jen, Ho Shiang-ning, Yu Fei-chang et al., or down to media news reporters, besides them, Chang Dai-Chien continued to traverse in the three destinations across the strait with his paintings, seeking to ease and calm everybody, with enough twist and turning stories to move even the toughest in mind. The interactions of his four wives and Chang Dai-Chien continued to steer the passionate artist’s choices in life. The Catholicism-themed Madonna and Child occasionally show a glimpse of Madonna with a Chinese flair over the course of seven hundred years, with a majority of them reminiscent of the Byzantine flair, and mostly done by anonymous painters. Up to the present stage, the number of the Madonna and Child that carry a Chinese splash-painting style, prior to Chang Dai-Chien, as discerned by the study, only comes to three unsigned, Chinese-flair Madonna and Child. Among Chang Dai-Chien’s more than 30,000 creations, so far there is only this Catholic religious painting creation that he has done, which has also been authenticated of its authenticity by the globally renowned auction house Christie’s. Done in the Chinese calligraphy paper, of the outlined color painting technique, the painting depicting a Madonna and Child scene, exuding a touch of Dun-Huang flair is part of Chang Dai-Chien’s private collection, and is authenticated by a paint brush endorsement of a red bird-styled Chinese calligraphy writing with elaborate marking noting down the painter’s diligent attitude; the heading featuring the Praises to the Madonna is done in the Chin period vintage calligraphy that piously praises the Madonna, which suggests a linkage between Chang Dai-Chien and the Catholicism, but the assertion has been quickly ruled out by parish followers and clergies reckoning the Madonna depicting to be too closely resembling to Guan Yin, the Goddess of Mercy, without taking into account that it should have been placed on a church altar. The thesis anticipates that churches looking to solicit the purchasing of Chinese-flair Madonna and Child that could be placed for worship in church do not necessarily have to seek replicas produced in the Philippines or Spain; in such way, perhaps there is a chance to locate Chinese-flair Madonna and Child that are identifiable by a majority of the parish followers and clergymen.

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Turnblom, Sarah Elizabeth. "Devotion and self-promotion in Jan VanEyck's Madonna and Child with Canon Van Der Paele." 2002. http://emp3.hbg.psu.edu/theses/available/etd-05062002-110618/.

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Jiráková, Hana. "Benátské vlivy na dílo Boccaccia Bocaccina." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-327847.

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(in English) The key theme of my thesis are venetian influences on the Boccaccio Boccaccino's work, who was one of the most important exponents of the Cremonese school of painters. Initially he worked in Genoa, Cremona and Milan and he was influenced by the painters as Leonardo, Bramantino and Boltraffio. In the years 1497-1500 Boccaccino is documented in Ferrara. In this period he executed so-called tondo Gronau, The Christ on the way to Calvary, The Virgin and Child, now in Boston, The Virgin and Child, now in Padua, The Adoration of the Shepherds, now in Naples and Dead Christ supported by an Angel. This works show the influence of Bramantino, umbrian school but also early influence of venetian art. In 1500 or 1501 he painted the altarpiece with Virgin and Child with Sts Peter, Michael, John the Baptist and John the Evangelist for the church of S. Giuliano in Venice. Models of this composition are the S. Cassiano altarpiece of Antonello da Messina and Virgin and Child with Saints which Giovanni Bellini executed for the church of S. Giobbe. Boccaccino's image in S.Giuliano is also inspired by Ercole de'Roberti and Lorenzo Costa. His colours show the influence of Giorgione. In 1506 is Boccaccino documented in Venice but also in Cremona. In the years 1500-1506 he stayed probably in Venice, but he...

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Books on the topic "Madonna and child"

1

Maidment, David. The child madonna. Ely, Cambridegshire: Melrose Books, 2009.

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Clark, Jawanza Eric, ed. Albert Cleage Jr. and the Black Madonna and Child. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0.

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Welldon, Estela V. Mother, madonna, whore: The idealization and denigration of motherhood. London: Free Association Books, 1988.

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Ireland. Dept. of Health., ed. Report on the inquiry into the operation of Madonna House. Dublin: Dept. of Health, Govt. of Ireland, 1996.

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Welldon, Estela V. Mother, madonna, whore: The idealization and denigration of motherhood. New York: Other Press, 2000.

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Waldner, Sira, ed. Andrea Mantegna and the iconographic creation: Madonna of tenderness with dreaming child. Foligno, Italy: Edicit-Editrice Centro Italia, 2009.

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1502-1567, Foschi Pier Francesco, ed. Madonna and Child with the Young St John the Baptist by Pier Francesco Foschi. Firenze: Mandragora, 2019.

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8

Bellini, Giovanni. A Bellini from Birmingham: The Madonna and child enthroned with Saint Peter and Saint Paul anda donor. London: National Art Collections Fund, 1993.

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Wegner, Susan E. Images of the Madonna and Child by three Tuscan artists of the early seicento: Vanni, Roncalli, and Manetti. Brunswick, Me: Bowdoin College Museum of Art, 1986.

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10

Giotto. La Madonna di San Giorgio alla Costa di Giotto: Studi e restauro. Firenze: Edifir, 1995.

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Book chapters on the topic "Madonna and child"

1

Colilli, Paul. "Madonna with Child." In The Angel's Corpse, 89–94. New York: Palgrave Macmillan US, 1999. http://dx.doi.org/10.1057/9780312299668_16.

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Leggo, Carl. "Madonna and Christ Child." In Sailing in a Concrete Boat, 131. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-955-8_37.

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Ray, Sid. "Introduction: Madonna, Child, and Early Modern Accolated Bodies." In Mother Queens and Princely Sons, 1–16. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137003805_1.

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Thomas, Velma Maia. "The Black Madonna and the Role of Women." In Albert Cleage Jr. and the Black Madonna and Child, 117–34. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_7.

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Harvey, Melanee. "Black Power and Black Madonna: Charting the Aesthetic Influence of Rev. Albert Cleage, Glanton Dowdell & the Shrine of the Black Madonna, #1." In Albert Cleage Jr. and the Black Madonna and Child, 135–55. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_8.

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Clark, Jawanza Eric. "Introduction: Why a White Christ Continues to Be Racist: The Legacy of Albert B. Cleage Jr." In Albert Cleage Jr. and the Black Madonna and Child, 1–17. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_1.

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Wright, Almeda M. "Image is Everything? The Significance of the Imago Dei in the Development of African American Youth." In Albert Cleage Jr. and the Black Madonna and Child, 171–87. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_10.

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Jackson, BaSean A. "A Crucified Black Messiah, a Dead Black Love." In Albert Cleage Jr. and the Black Madonna and Child, 189–205. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_11.

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Hill, Kamasi C. "The Crucified City: Detroit as a Black Christ Figure." In Albert Cleage Jr. and the Black Madonna and Child, 209–26. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_12.

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Faraji, Salim. "Savior King: Re-reading the Gospels as Greco-Africana Literature & Re-imaging Christ as Messianic Pharaoh." In Albert Cleage Jr. and the Black Madonna and Child, 227–49. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_13.

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Conference papers on the topic "Madonna and child"

1

Podlubny, Igor, and Peter Kmetek. "Computer-Generated Art: Madonna and Child -- Infinity of Life." In 2016 UKSim-AMSS 18th International Conference on Computer Modelling and Simulation (UKSim). IEEE, 2016. http://dx.doi.org/10.1109/uksim.2016.48.

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Vuga, Martina. "Skin matters. Conservation-restoration treatment of a 16th Century polychrome wooden sculpture." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13509.

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This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials regarding aesthetic reintegration are pointed out: various approaches used on different surfaces, of which faces, and other parts of the skin, received a comprehensive “skin care”.

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