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Filippino Lippi, Madonna and Child , c. Speakers: Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris. Learn more about the expanding the renaissance initiative. Earle and K. Lowe, eds. Joaneath Spicer, ed. It was very common at the time.
We see Mary tenderly holding Jesus as a baby, and he is very playfully turning the pages of a book. Lippi has painted him to look like an actual child, with all the naturalistic baby fat and rolls. Harris: [] Mary, too, looks like a human mother. She looks down at her child. Harris: [] To me, this painting has everything that I expect of the Renaissance. It has figures who are naturalistic, who are three-dimensional. Lippi is using modeling to make the figures have volume and take up space.
This painting dates to around , Just prior to this painting, you have the introduction of oil painting into Florence. Kilroy-Ewbank: [] It really is a masterful pairing of the sacred and the secular, where we have Mary placed into a contemporary Florentine palace with a contemporary Florentine landscape in the background. Kilroy-Ewbank: [] The blue of her mantle is ultramarine, which derives from lapis lazuli, which comes from mines in Afghanistan, and it could only be mined about six months of the year.
It was an extremely precious material and not everyone could afford it, but people like the Strozzis could afford it, and they really wanted to put on display this material splendor. Kilroy-Ewbank: [] The cityscape and the landscape that we see through the window is indebted to these Flemish paintings and painters, where you often see rooms, then a window outside where you can get this deeper recession into the landscape.
