Journal articles: 'Madonna and child'

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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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9

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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Kaganov, B. S. "Madonna with child or Breastfeeding as art (lecture)." Voprosy praktičeskoj pediatrii 10, no. 3 (2015): 83–97. http://dx.doi.org/10.20953/1817-7646-2015-3-83-97.

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12

Doherty, Brigid. "Between the Artwork and its ‘Actualization’: a Footnote to Art History in Benjamin's ‘Work of Art’ Essay." Paragraph 32, no. 3 (November 2009): 331–58. http://dx.doi.org/10.3366/e0264833409000637.

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This article analyses a footnote to the third version of the ‘Work of Art’ essay in which Walter Benjamin presents an account of ‘a certain oscillation’ between ‘cult value’ and ‘exhibition value’ as typical of the reception of all works of art. Benjamin's example in that footnote is the Sistine Madonna (1512–13), a painting by Raphael in the Dresden Gemäldegalerie that has played an important part in German aesthetics since Winckelmann. Benjamin's footnote on the Sistine Madonna, along with his critique of Hegel's aesthetics in that context, demand to be understood in relation to his remarks on Dada elsewhere in the artwork essay, and to his claim that technological reproducibility leads to the ‘actualization’ of the original reproduced. In that connection, the article concludes with an analysis of Kurt Schwitters's 1921 montage picture Knave Child Madonna with Horse.

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13

Frontczak, Beata. "„Porachowanie z Panem Auszpurczaninem”. Specyfikacje kosztów wykonania złotej figury Matki Boskiej z Dzieciątkiem i argenteriów z fundacji Jana Wawrzyńca Wodzickiego dla kościoła Mariackiego w Krakowie oraz historia tych zabytków." Opuscula Musealia 26 (2019): 101–41. http://dx.doi.org/10.4467/20843852.om.18.008.11001.

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“Getting even with Mr. Augsburgian”. Cost estimates for making the silverware and gold statue of Madonna and Child by Jan Wawrzyniec Wodzicki and donated to Saint Mary’s Basilica in Kraków Until 1794, silverware and gold statue of Madonna and Child funded as a votive offering for blessings received by Jan Warzyniec Wodzicki, the Deputy Cup-bearer of Warsaw, was kept in Saint Mary’s Basilica in Kraków. Wodzicki donated several items to his parish church: in 1690 he made a gift of six altar candlesticks, in 1692 a gold statue of a Madonna and Child on a gilt silver pedestal and a pair of kneeling angels on pedestals identical to the pedestal of the Madonna statue, and on 12 July 1694 a five-piece silver antependium. In the Archive of the Wodzicki Family from Kościelniki, kept in the Ossolineum Library in Wrocław, the author of this article has found two cost estimates for making the above mentioned silverware, except for the antependium, issued in Warsaw on 9 May 1694 by Rad & Hößlin, a trading house from Augsburg. Christopher von Rad I and Bartholomäus Hößlin (Hösslin), jewellers and goldsmiths from Augsburg, established their company in 1690. The documents found by the author are the first ones to confirm that the above mentioned jewellers from Augsburg operated in Poland. The first cost estimate (Annex I) tells us that Wodzicki gave 1,100 ducats (1,114 Augsburg ducats) for the figure of Madonna and Child. The labour cost of both figures, a case and a travelling bag was 559 imperial thalers and 11 kreutzers (the cost of a wax model and forming the body out of gold sheet cost 35 imperial thalers, whereas the repoussage of the body cost 498 imperial thalers and 11 kreutzers). In accordance with the second specification (Annex II), the goldsmith was paid 1,847 imperial thalers and 30 kreutzers for the candlesticks. The labour cost of making two statues of angels on pedestals was 536 imperial thalers and 22½kreutzers, whereas making the pedestal for the statue of the Madonna and Child cost 182 imperial thalers and 78 kreutzers. The cost estimate of the silver antependium for the main altar has not survived. The inventory of Saint Mary’s Basilica in Kraków shows that the five-piece antependium weighed 206 grzywnas (ancient Polish measure of weight) and cost 14,856 tymf (Polish silver coins). The works were most probably the result of one workshop, and were perhaps by Abraham II Drentwett (1647–1729), a goldsmith, wax sculptor and draughtsman from Augsburg. During the Kościuszko Uprising in 1794, the above mentioned silverware, except for the statues of angels, were taken from the treasury of the basilica by the Order Committee established by Tadeusz Kościuszko and melted down to support the uprising. In 1807, the two statues of angels funded by Wodzicki were sold to goldsmiths from Kraków.

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14

Frontczak, Beata. "„Porachowanie z Panem Auszpurczaninem”. Specyfikacje kosztów wykonania złotej figury Matki Boskiej z Dzieciątkiem i argenteriów z fundacji Jana Wawrzyńca Wodzickiego dla kościoła Mariackiego w Krakowie oraz historia tych zabytków." Opuscula Musealia 26 (2019): 101–41. http://dx.doi.org/10.4467/20843852.om.18.008.11001.

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“Getting even with Mr. Augsburgian”. Cost estimates for making the silverware and gold statue of Madonna and Child by Jan Wawrzyniec Wodzicki and donated to Saint Mary’s Basilica in Kraków Until 1794, silverware and gold statue of Madonna and Child funded as a votive offering for blessings received by Jan Warzyniec Wodzicki, the Deputy Cup-bearer of Warsaw, was kept in Saint Mary’s Basilica in Kraków. Wodzicki donated several items to his parish church: in 1690 he made a gift of six altar candlesticks, in 1692 a gold statue of a Madonna and Child on a gilt silver pedestal and a pair of kneeling angels on pedestals identical to the pedestal of the Madonna statue, and on 12 July 1694 a five-piece silver antependium. In the Archive of the Wodzicki Family from Kościelniki, kept in the Ossolineum Library in Wrocław, the author of this article has found two cost estimates for making the above mentioned silverware, except for the antependium, issued in Warsaw on 9 May 1694 by Rad & Hößlin, a trading house from Augsburg. Christopher von Rad I and Bartholomäus Hößlin (Hösslin), jewellers and goldsmiths from Augsburg, established their company in 1690. The documents found by the author are the first ones to confirm that the above mentioned jewellers from Augsburg operated in Poland. The first cost estimate (Annex I) tells us that Wodzicki gave 1,100 ducats (1,114 Augsburg ducats) for the figure of Madonna and Child. The labour cost of both figures, a case and a travelling bag was 559 imperial thalers and 11 kreutzers (the cost of a wax model and forming the body out of gold sheet cost 35 imperial thalers, whereas the repoussage of the body cost 498 imperial thalers and 11 kreutzers). In accordance with the second specification (Annex II), the goldsmith was paid 1,847 imperial thalers and 30 kreutzers for the candlesticks. The labour cost of making two statues of angels on pedestals was 536 imperial thalers and 22½kreutzers, whereas making the pedestal for the statue of the Madonna and Child cost 182 imperial thalers and 78 kreutzers. The cost estimate of the silver antependium for the main altar has not survived. The inventory of Saint Mary’s Basilica in Kraków shows that the five-piece antependium weighed 206 grzywnas (ancient Polish measure of weight) and cost 14,856 tymf (Polish silver coins). The works were most probably the result of one workshop, and were perhaps by Abraham II Drentwett (1647–1729), a goldsmith, wax sculptor and draughtsman from Augsburg. During the Kościuszko Uprising in 1794, the above mentioned silverware, except for the statues of angels, were taken from the treasury of the basilica by the Order Committee established by Tadeusz Kościuszko and melted down to support the uprising. In 1807, the two statues of angels funded by Wodzicki were sold to goldsmiths from Kraków.

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15

Henry, Tom. "Signorelli's "Madonna and Child": A Gift to His Daughter." Metropolitan Museum Journal 36 (January 2001): 161–68. http://dx.doi.org/10.2307/1513061.

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16

Ware, Frederick L. "Albert Cleage Jr. and the black Madonna and child." Black Theology 16, no. 1 (December 12, 2017): 90–92. http://dx.doi.org/10.1080/14769948.2018.1411759.

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17

Evans, Jo. "Madonna and child: towards a new politics of motherhood." Feminist Review 76, no. 1 (March 11, 2004): 137–38. http://dx.doi.org/10.1057/palgrave.fr.9400143.

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18

Štefanac, Samo. "Un’altra opera di Paolo Campsa e Giovanni di Malines in Istria." Ars Adriatica 7, no. 1 (December 19, 2017): 157. http://dx.doi.org/10.15291/ars.1393.

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The statue of Madonna and Child in Ližnjan’s church “Na Muntu” has hitherto not been analysed in detail in scholarly literature, largely owing to its later polychrome additions, which completely obscure its original appearance. Nevertheless, based on comparison with the oeuvre of Paolo Campsa, a leading Venetian woodcarver, and his brother-in-law Giovanni da Malines, the statue has now been attributed to these two artists. Parallels in the concept of the figure, the system of draping, and various details have been identified in the Madonna of Buje, as well as triptychs in Baška and Monopoli. It also shows considerable similarities with sculptures produced in Campsa’s workshop before the death of Giovanni da Malines, which indicates that it was made in the last decade of the 15th century. A very similar example is the Madonna of Bale (“Our Lady of Monperin”), probably made under its influence, but the somewhat lower quality of sculpting indicates that it may be attributed to a follower of Campsa, perhaps a local Istrian master.

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19

HINNOV, EMILY M. "The Maternal Utopia in Tina Modotti's Modernist Madonna and Child." Women's Studies 40, no. 3 (March 31, 2011): 249–68. http://dx.doi.org/10.1080/00497878.2010.548428.

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20

Prendergast, Michael. "The Language of Splendour: Fra Angelico's ?Madonna and Child Enthroned?" New Blackfriars 71, no. 844 (December 1990): 548–52. http://dx.doi.org/10.1111/j.1741-2005.1990.tb01453.x.

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21

Pearman, Sara Jane. "MADONNA AND CHILD: THE DEVELOPMENT OF CHRISTIAN SYMBOLISM. Lois Swan Jones." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 1 (April 1993): 37. http://dx.doi.org/10.1086/adx.12.1.27948530.

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22

Wolff, Michelle. "Madonna and Child of Soweto: Black Life Beyond Apartheid and Democracy." Political Theology 19, no. 7 (March 28, 2018): 572–92. http://dx.doi.org/10.1080/1462317x.2018.1450468.

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23

Cvetnić, Sanja, and Zoraida Demori Staničić. "Prijedlog za Jacopa Amigonija (Bogorodica s Djetetem) na Visovcu." Ars Adriatica 8, no. 1 (December 28, 2018): 153–62. http://dx.doi.org/10.15291/ars.2759.

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The painting Madonna and Child on the island of Visovac is comparable to the paintings produced by Jacopo Amigoni in the early 1740s, at the time when he stayed in Venice and probably established a workshop. The article explains the reasons for a preliminary attribution of this painting to the prominent painter of the Venetian and European Settecento, and its significance for the Franciscan artistic heritage in Dalmatia.

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24

Biggs, Hazel. "Madonna minus child. Or — wanted: Dead or alive! The right to have a dead partner’s child." Feminist Legal Studies 5, no. 2 (August 1997): 225–34. http://dx.doi.org/10.1007/bf02684882.

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25

Mulley, Elizabeth. "Madonna/Mother/Death and Child: Laura Muntz and the Representation of Maternity." RACAR : Revue d'art canadienne 25, no. 1-2 (1998): 84. http://dx.doi.org/10.7202/1071616ar.

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26

Soultanian, Jack. "Technical Note: A Late-Fifteenth-Century German Polychrome Wood Madonna and Child." Record of the Art Museum, Princeton University 63 (2004): 58. http://dx.doi.org/10.2307/3774845.

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27

Corrie, Rebecca W. "The Political Meaning of Coppo di Marcovaldo's Madonna and Child in Siena." Gesta 29, no. 1 (January 1990): 61–75. http://dx.doi.org/10.2307/767101.

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Casale, Sinem Arcak. "The Persian Madonna and Child: Commodified Gifts between Diplomacy and Armed Struggle." Art History 38, no. 4 (August 17, 2015): 636–51. http://dx.doi.org/10.1111/1467-8365.12172.

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29

Land, Norman. "GIOTTO'S FLY, CIMABUE'S GESTURE, AND A "MADONNA AND CHILD" BY CARLO CRIVELLI." Source: Notes in the History of Art 15, no. 4 (July 1996): 11–15. http://dx.doi.org/10.1086/sou.15.4.23204905.

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Edwards, Howell G. M., and Timothy J. Benoy. "The de Brécy Madonna and Child tondo painting: a Raman spectroscopic analysis." Analytical and Bioanalytical Chemistry 387, no. 3 (July 26, 2006): 837–46. http://dx.doi.org/10.1007/s00216-006-0646-4.

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Wiseman, Mary Bittner. "Renaissance Madonnas and the Fantasies of Freud." Hypatia 8, no. 3 (1993): 115–35. http://dx.doi.org/10.1111/j.1527-2001.1993.tb00039.x.

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Through the work of Julia Kristeva, this paper challenges Freud's laws that everyone is always already gendered, that the mother is feminine and every infant masculine, and that one cannot love the same (gender). The figure of the Madonna, seen through the paintings of Giovanni Bellini, is used to theorize the time in the life of a child before Oedipus and to undo the conceptual knot with which Freud has bound the feminine to the maternal.

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Isik Sen, Vildan. "FROM THE BYZANTINE ICONS TO TODAY THE MADONNA AND CHILD MOTIF IN ART." Idil Journal of Art and Language 6, no. 32 (May 20, 2017): 1359–83. http://dx.doi.org/10.7816/idil-06-32-12.

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33

Hilloowala, Rumy, and Jerome Oremland. "The St. Peter's "Pieta": A Madonna and Child? An Anatomical and Psychological Reevaluation." Leonardo 20, no. 1 (1987): 87. http://dx.doi.org/10.2307/1578217.

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34

Martino, E. "Madonna Enthroned with Child Cenni di Pepo called Cimabue (Florence 1240-Pisa 1302)." Journal of Endocrinological Investigation 34, no. 7 (July 2011): 571. http://dx.doi.org/10.1007/bf03345396.

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Roland, Charles G. "Silhouette: Maude Abbott, MD, ?Madonna of the heart?" Medical and Pediatric Oncology 35, no. 1 (2000): 64–65. http://dx.doi.org/10.1002/1096-911x(200007)35:1<64::aid-mpo10>3.0.co;2-f.

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Suffield, Bruce Hardin. "Andrea di Bartolo's "Madonna and Child": Investigations of the Materials, Techniques, and Original Effects." Record of the Art Museum, Princeton University 59, no. 1/2 (2000): 16. http://dx.doi.org/10.2307/3774799.

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Patton, Pamela A. "INTIMATIONS OF THE REDEEMER IN A FIFTEENTH-CENTURY RELIEF OF THE MADONNA AND CHILD." Source: Notes in the History of Art 5, no. 4 (July 1986): 13–18. http://dx.doi.org/10.1086/sou.5.4.23202224.

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Hilje, Emil. "Slika Bogorodice s Djetetom u The Courtauld Institute of Art u Londonu - prijedlog za Petra Jordanića." Ars Adriatica, no. 4 (January 1, 2014): 213. http://dx.doi.org/10.15291/ars.496.

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A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in San Diego, the Courtauld painting shares obvious connections. Roberto Longhi ascribed it to the Paduan painter Pietro Calzetta in 1926, while Franz Drey, in 1929, considered it to be the work of Pietro Alemanno, Crivelli’s disciple, who worked in the Marche region during the last quarter of the fifteenth century. After the Second World War, the Courtauld painting was almost completely ignored by the experts. The only serious judgement was that expressed by Pietro Zampetti, who established that it was an almost exact copy of Crivelli’s Huldschinsky Madonna, meaning that if Calzetti had painted it, he would have done it while Carlo was still in the Veneto, before he went to Zadar.The search for information which can shed more light on the attribution of the Virgin and Child from the Courtauld is aided by the valuable records in the Fondazione Federico Zeri at the Università di Bologna. The holdings of the Fototeca Zeri include three different photographs of the Courtauld painting with brief but useful accompanying notes. Of particular importance is the intriguing inscription on the back of one of the photographs, which points to the painting’s Dalmatian origin. In a certain way, this opens the possibility that it might be linked to another painter who was close to the Crivelli brothers: the Zadar priest and painter Petar Jordanić. That he may have been the one who painted it is indicated by the signature itself, which could be read as “OPVUS P(RESBITERI) PETRI”.Archival records about Petar Jordanić provide almost no information about his work as a painter. Apart from his signature of 1493 on a no-longer extant polyptich from the Church of St Mary at Zadar, the only record of his artistic activities is one piece of information: that in 1500 he took part in a delegation which was sent from Zadar to its hinterland charged with the task of making drawings of the terrain which could be used to help defend the town against the Ottoman Turks. However, more than thirty documents which mention him do paint a picture of his life’s journey and his connection with Zadar. The most important basis for any consideration of a possible connection between Petar Jordanić and Carlo Crivelli can be found in the will of his father Marko Jordanov Nozdronja (in late 1468) where Petar was named as the executor, meaning that at this point he was of age. Therefore, it can be concluded that he was born between 1446 and 1448. This makes him old enough to have been taught by Carlo during his stay in Zadar from c. 1460 to 1466. Although relatively modest, the oeuvre of Petar Jordanić demonstrates striking connections with the paintings of Carlo and Vittore Crivelli, and Ivo Petricioli has already put forward a hypothesis that he may have been taught by one of the brothers.The comparison between the painting from the Courtauld Institute of Art in London and the known works of Petar Jordanić (the Virgin and Child from a private collection in Vienna; the Virgin and Child from the Parish Church at Tkon; fragments of a painted ceiling from Zadar Cathedral; the lost polyptich from the Church of St Mary at Zadar) reveals a multitude of similar features. Apart from the general resemblance in the physiognomies of the Virgin and Christ Child which represent the most conspicuous analogies, a number of very specific “Morellian” elements can also be noted in the manner in which the faces were painted. These similarities are particularly apparent when one compares the head of the Christ Child on the painting from London and his head on the one from Tkon, which are almost identically depicted. Further similarities between the London painting and the one at Vienna can be seen in the way in which landscapes were painted and in the similar decorations of the gold fabrics in the backgrounds with their undulating scrolls and sharp almond-shaped leaves.However, with regard to visual characteristics, it is apparent at first sight that the quality of the London painting is markedly higher and that it is stylistically more advanced than those works which are attributed with certainty to Jordanić. These differences can be explained by the possibility that this was a more or less direct copy of one of Carlo Crivelli’s painting, probably not the Huldschinsky Madonna but one that was very similar to it and subsequently lost.Naturally, if the London painting is attributed to Petar Jordanić, meaning that it was produced in Zadar, then the argument on the basis of which the Huldschinsky Madonna has been dated to the time before Crivelli’s arrival in Zadar becomes a counter-argument, and, in that way, corroborates the possibility that the Huldschinsky Madonna, which shares a large number of similar elements with the painting from the Courtauld Institute of Art, was created while Carlo was in Zadar.

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39

Harris, Lauren Julius, Rodrigo Andrés Cárdenas, Michael P. Spradlin, and Jason B. Almerigi. "Adults' preferences for side-of-hold as portrayed in paintings of the Madonna and Child." Laterality: Asymmetries of Body, Brain and Cognition 14, no. 6 (October 12, 2009): 590–617. http://dx.doi.org/10.1080/13576500902745781.

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40

Matanky, Eugene D., and Jonatan M. Benarroch. "Madonna and Child Metatron: A Clandestine Polemic from Thirteenth-Century Iberia to Seventeenth-Century Italy." Journal of Religion 104, no. 2 (April 1, 2024): 171–97. http://dx.doi.org/10.1086/728914.

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41

Buccolieri, Alessandro, Giovanni Buccolieri, Alfredo Castellano, Pietro Quarta Colosso, and Lidiana Miotto. "Non-destructive techniques used during the restoration of the relief “Madonna and Child” by Jacopo Sansovino." Applied Physics A 120, no. 2 (May 23, 2015): 447–53. http://dx.doi.org/10.1007/s00339-015-9226-9.

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42

Cui, Tingting. "The Construction of Female Identity in Chinese Biographical Film Anita Through the Lens of Male Gaze." Asian Journal of Social Science Studies 7, no. 8 (August 28, 2022): 54. http://dx.doi.org/10.20849/ajsss.v7i8.1269.

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Anita 《梅艳芳》 is a biopic newly released in 2021, chronicling her journey from a child performer to one of most recognized music idols in China and Southeast Asia. Mui began her singing career as a little girl, giving shows at an amusement park. Known as “Asian Madonna”, she kicked off her career by winning a singing contest in Hong Kong in 1982. Meanwhile, Mui also gained fame as an actress. She starred in more than 40 movies over 20 years, winning Taiwan’s Golden Horse award for best actress in 1987 for her role as a tormented ghost in the movie “Rouge.” She was also known for her charity work, setting up the Anita Mui Charity Foundation in 1990s.

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Dominici, Tamara. "Quentin Metsys e l’Italia: immagini di un viaggio." Studiolo 13, no. 1 (2016): 10–29. http://dx.doi.org/10.3406/studi.2016.1023.

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Quentin Metsys and Italy : Pictures of a Trip The hypothesis that Quentin Metsys went for a trip to Italy has only been suggested by Limentani Virdis, who gives the painter the authorship of the fresco in the Oratory of Santa Maria di Rovegnano Abbey. Beyond its Italian features, the master of Antwerp’s artistic production shows proximity to Leonardo’s painting, both in the use of iconography of grotesque and in the sentimentalism expressed in depictions of the Madonna and Child, hardly explainable since there is not a direct, even short, experience in the peninsula. It is therefore possible that Metsys saw Italy with his own eyes : Ecce Homo of Venice could corroborate this hypothesis, a trait d’union between Erasmus, Metsys, Cardinal Grimani and Italy.

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Bynum, Caroline Walker. "The Body of Christ in the Later Middle Ages: A Reply to Leo Steinberg." Renaissance Quarterly 39, no. 3 (1986): 399–439. http://dx.doi.org/10.2307/2862038.

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Most of us who inhabit the western, post-Christian world are so accustomed to pictures of the Madonna and child or of the Holy Family that we hardly notice the details. When we encounter such images in museums, on posters, or on Christmas cards, we tend to respond sentimentally if at all. We note whether the baby looks like a baby or not. We are pleased if the figures appear happy and affectionate. Perhaps we even feel gratitude for the somewhat banal support of an institution—the human family—that seems worn a little thin in the modern world. But we are not shocked. Recognizing that the Incarnation is a central Christian tenet, we feel no surprise that Christian artists throughout the western tradition should have painted God as a male baby.

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Atrei, Andrea, Francesca Benetti, Susanna Bracci, Donata Magrini, and Nadia Marchettini. "An integrated approach to the study of a reworked painting “Madonna with child” attributed to Pietro Lorenzetti." Journal of Cultural Heritage 15, no. 1 (January 2014): 80–84. http://dx.doi.org/10.1016/j.culher.2013.01.009.

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McMANUS, I. C. "Symmetry and asymmetry in aesthetics and the arts." European Review 13, S2 (August 22, 2005): 157–80. http://dx.doi.org/10.1017/s1062798705000736.

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Symmetry and beauty are often claimed to be linked, particularly by mathematicians and scientists. However philosophers and art historians seem generally agreed that although symmetry is indeed attractive, there is also a somewhat sterile rigidity about it, which can make it less attractive than the more dynamic, less predictable beauty associated with asymmetry. Although a little asymmetry can be beautiful, an excess merely results in chaos. As Adorno suggested, asymmetry probably results most effectively in beauty when the underlying symmetry upon which it is built is still apparent. This paper examines the ways in which asymmetries, particularly left-right asymmetries, were used by painters in the Italian Renaissance. Polyptychs often show occasional asymmetries, which are more likely to involve the substitution of a left cheek for a right cheek, than vice-versa. A hypothesis is developed that the left and right cheeks have symbolic meanings, with the right cheek meaning ‘like self’ and the left cheek meaning ‘unlike self’. This principle is evaluated in pictures such as the Crucifixion, the Annunciation and, the Madonna and Child. The latter is particularly useful because the theological status of the Madonna changed during the Renaissance, and her left–right portrayal also changed at the same time in a comprehensible way. Some brief experimental tests of the hypothesis are also described. Finally the paper ends by considering why it is that the left rather than the right cheek is associated with ‘unlike self’, and puts that result in the context of the universal ‘dual symbolic classification’ of right and left, which was first described by the anthropologist Robert Hertz.

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Toulouze, Eva, Liivo Niglas, and Laur Vallikivi. "Buying a God in Paris: Cultural Hybridity in the Thinking of Yuri Vella, Forest Nenets Intellectual." Journal of Ethnology and Folkloristics 16, no. 2 (December 1, 2022): 22–42. http://dx.doi.org/10.2478/jef-2022-0012.

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Abstract This paper analyses highly creative and hybrid practices which tie the Indigenous Siberian, European Christian and Soviet worlds in unexpected ways. Reflecting on the Forest Nenets reindeer herder, poet and intellectual Yuri Vella’s understanding of the religious, the authors discuss an episode of turning an icon-like painting of Madonna with Child into a Nenets ‘god’. This took place in Paris half a year before Yuri’s death. First, we present his short biography, emphasising the key moments that shaped his cosmological and religious sensibilities. Then we depict a ritual of ‘god-making’ by using the ethnographic technique of thick description and then comment on it from various angles and discuss what they reveal about Yuri’s understanding of personhood and agency, relations with deities and other humans. Finally, we explain how animist notions and Christian elements become entangled in his religious thinking.

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Guglielmi, Vittoria, Chiara Andrea Lombardi, Giacomo Fiocco, Valeria Comite, Andrea Bergomi, Mattia Borelli, Monica Azzarone, Marco Malagodi, Mario Colella, and Paola Fermo. "Multi-Analytical Investigation on a Renaissance Polychrome Earthenware Attributed to Giovanni Antonio Amadeo." Applied Sciences 13, no. 6 (March 20, 2023): 3924. http://dx.doi.org/10.3390/app13063924.

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This research aimed to characterise pigments used to decorate a polychrome earthenware bas-relief of the 15th century entitled “Madonna with Child, Saint Catherine of Siena, and a Carthusian Prior”, attributed to Giovanni Antonio Amadeo (Pavia, 1447–Milan, 1522) and owned by the Sforzesco Castle Museum of Milan. The artwork underwent a cleaning procedure whose aims were the removal of the dark coating that obscured its surface and restoration work that could bring back its original features. Before the cleaning, six microsamples were collected and analysed using optical microscopy (OM), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM-EDXS), and Fourier-transform infrared microspectroscopy in ATR mode (ATR-FTIR), providing the restorers with decisive information on the materials underlying the coating. After the cleaning, the terracotta appeared vibrantly coloured, mainly with bright red, blue, green, black, and white tones. Then, some in situ, non-destructive, spectroscopic measurements were performed by a portable Raman spectrometer on some of the areas that could not otherwise have been sampled. The analyses revealed the presence of natural pigments, including lead white, azurite, yellow ochre, carbon black, calcite, cinnabar, and gypsum. For Madonna’s mantle, cobalt and Prussian blue were employed. Furthermore, the presence of barium sulphate was widely evidenced on the bas-relief. Albeit cobalt blue is of synthetic origin, its presence is compatible with the 15th-century palette, whereas Prussian blue and barium sulphate could be imputed to a previous restoration. Finally, the use of true gold for the background of the earthenware attests to the artwork’s importance and value.

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Mazzinghi, Anna, Lisa Castelli, Francesca Giambi, Chiara Ruberto, Leandro Sottili, Francesco Taccetti, and Lorenzo Giuntini. "The Importance of Preventive Analysis in Heritage Science: MA-XRF Supporting the Restoration of Madonna with Child by Mantegna." Applied Sciences 13, no. 13 (July 7, 2023): 7983. http://dx.doi.org/10.3390/app13137983.

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The Madonna with Child by Andrea Mantegna owned by the Museo Poldi Pezzoli in Milan is painted on canvas with an unusual distemper technique. During the period of 1863–1865, the painting was restored by Giuseppe Molteni. The identification of potential retouchings by Molteni, possibly covering part of the original layer, was the object of this work carried at the Opificio delle Pietre Dure. To evaluate the extent of both Molteni’s intervention and Mantegna’s original layer, the MA-XRF spectrometer developed by CHNet-INFN was used to discriminate between the two paint layers and identify the materials and the extension of both “artists”. Indeed, the elemental maps showed that Molteni’s work entirely covered the mantle of the Virgin, even changing the fold of the draperies and enriching the red robe with shell gold highlights, giving a different appearance to the painting. Moreover, MA-XRF also revealed that the original Mantegna was still mostly intact underneath Molteni’s layer, thereby providing a decisive guide for conservation works. These results indeed formed the basis for the technical decision to remove the varnish and Molteni’s version, unveiling the original Mantegna. A second MA-XRF campaign was then carried out to fully characterise the materials of this unusual painting technique.

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Ilichev, Denis V. "Madonna del Libro in the Collection of the Sverdlovsk Regional Museum of Local Lore: The First Data of Attribution and Technical Study of the Picture." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 4 (2021): 46–59. http://dx.doi.org/10.15826/izv2.2021.23.4.066.

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This article is devoted to the attribution of the Madonna and Child painting from the collection of the Sverdlovsk Regional Museum of Local Lore (Yekaterinburg), corresponding to the image of Madonna del Libro distributed in Italy in the sixteenth century. Referring to works of Italian researchers, the author reveals the original source that served as the basis for creating the iconographic work, i.e. a work of Perino del Vaga, an Italian artist. Further research helps establish the fact that the Ural canvas is a copy of an original painting of the Spanish artist Pedro de Rubiales who worked in Italy in the 1640s–1660s and reinterpreted P. del Vaga’s work. However, a technological analysis of the Ural canvas demonstrates that it was created much later, between the second quarter and the mid-nineteenth century. The unknown author of the picture studied in the article made attempts to reconstruct the technology of the original, but the discrepancies between them and the materials and methods of the Italian painting from between the sixteenth and seventeenth centuries revealed in the analysis of the canvas, ground, the stratigraphy of the paint layer, and paint binder make it possible to speak about the author’s insufficient awareness of the principles of painting of the era and region he referred to in his reinterpretation. Thus, the work in question demonstrates the peculiarities of creating imitations of sixteenth-century works at a later time. The article also proposes a version on the place and time of restoration of the painting, formulated on the basis of comparing data on the use of duplication technology, the design of the subframe, the presence of a signature on the subframe, and the correlation of said features with records from the catalogue of the Nizhny Tagil collection of paintings by D. P. Shorin. They suggest that work to improve the preservation of the painting was performed in the workshops of the imperial Hermitage by restorer N. A. Sidorov.

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Journal articles on the topic 'Madonna and child'

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