Created during the early Renaissance, Madonna and child by Rogier Van Der Weyden did not appeal to me. Unlike the other Madonna and child paintings, this portrayal lacked the visual excitement, and dramatic action. There was nothing in Rogiers work to make the painting seem to burst out of the frame. In my mind, the painting did not give a composition of unity, continuity, flow and or rhythm. The painting was formed by oil, which has tendency to darken and yellow with age.
The painting called, “Madonna and child with Saint Jerome” by Matteo Giovanni, intrigued me the most. Out of the other depictions of the Madonna and child in the gallery, Giovanni’s portrayal of Madonna and child was unique in a sense that he brought a form of early naturalist style of art. In Matteo’s painting, he strengthens the content of the structures by using the child as symbolic perspective. The posture and gestures of modesty of the characters show a harmonious resolution of the ideals of classical Greece and Rome. The positions of the hands and the peaceful smirk of Madonna gave a sense of inner feeling of readiness to be accepted. The angels created a strong emotion of supernatural vision. Giovanni portrayed his Christian subjects not as spiritual, but more with human characteristics. Human figures and their interior settings took on a new believable presence.
Matteo Di Giovanni was a student in Sienese School of art. He originally came from Borgo San Sepolcro and he painted the wings and predella (Pinacoteca Sansepolcro) of the altarpiece of which Piero Della Francesca’s Baptism of Christ (National Gallery, London) was the center panel. His style was elegant, linear, and decorative, revealing resemblance with Pollaiuolo. Matteo seems to have been one of the most popular and prolific Sienese painters of the second half of the 15th century. His major works include a large Assumption of the Virgin in the National Gallery, London.
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