Virgin and Child Enthroned: Difference between revisions

| museum= [[Museo Thyssen-Bornemisza]]

| city = [[Madrid]]

The '''''Virgin and Child Enthroned''''' (also known as the '''''Thyssen Madonna''''') is a small oil-on-oak [[panel painting]] dated {{c.}} 1433, usually attributed to the [[Early Netherlandish painting|Early Netherlandish]] artist [[Rogier van der Weyden]].<ref>The panel was attributed at various times in the late 19th and early 20th centuries to [[Hubert van Eyck]] and [[Jan van Eyck]]. See Hand et al. (2006), 324</ref> It is closely related to his ''[[Madonna Standing (van der Weyden)|Madonna Standing]]'', completed during the same period. The panel is filled with Christian [[iconography]], including representations of [[Prophets of Christianity|prophets]], the [[Annunciation to Mary|Annunciation]], [[Christ Child|Christ's infancy]] and [[Resurrection of Jesus|resurrection]], and [[Mary, mother of Jesus|Mary's]] [[Coronation of the Virgin|Coronation]]. It is generally accepted as the earliest extant work by van der Weyden, one of three works attributed to him of the [[Madonna (art)|Virgin and Child]] enclosed in a [[Nicheniche (architecture)|niche]] on an exterior wall of a [[Gothic architecture|Gothic]] church. The panel is housed in the [[Museo Thyssen-Bornemisza]] in Madrid.

The panel seems to be the left-hand wing of a dismantled [[diptych]], perhaps with the ''Saint George and the Dragon'' panel now in the [[National Gallery of Art]], Washington, D.C. As an early van der Weyden, it takes influence from [[Robert Campin]] and [[Jan van Eyck]]. Van der Weyden served his apprenticeship under Campin, and the older master's style is noticeable in the architecture of the niche, the [[Mary, mother of Jesus|Virgin]]'s facial type, her exposed breast and in the treatment of her hair.

The panel is the smallest extant work by van der Weyden<ref name="w354"/> and follows the tradition of a ''[[Nursing Madonna|Madonna Lactans]]'', with significant differences. [[Jesus|Christ]] is dressed in a red garment, as opposed to the [[swaddling]] he usually wears in 15th-century Virgin and [[Christ Child|Child]] portrayals.<ref name="a83" /> This is one of two exceptions where he is fully clothed; the other is [[Robert Campin]]'s ''Madonna'' in Frankfurt, where he is shown in blue clothing.<ref name="b330" /> Mary's unbound blond hair falls across her shoulders and down across her arms. Showing the influence of Campin, it is brushed behind the ears.<ref name="w354" /> She wears a crown as [[Queen of Heaven]] and a ring on a finger as the [[Bride of Christ]].<ref name= "description" /> Reinforcing this, the [[Marian blue|blue colour]] of her robe alludes to her devotion and fidelity to her son.<ref name="b329">Birkmeyer (1962), 329</ref> The folds of her dress are reminiscent of the lengthy, crisp, curved intertwined gowns of [[Gothic sculpture]].<ref name="w356" />

The pictorial space is bathed in soft light, probably an influence from [[Jan van Eyck]]. The light falls from the right, throwing shadows of both Mary and the Child's heads on the left wall of the niche.<ref name="w354">Ward (1968), 354</ref> The Virgin and Child are shown seated in a small Gothic chapel or oratory projecting from a wall and opening onto a lawn. The painting pays very close attention to small realistic detail; for example, there are four small holes above each arch, likely to hold scaffolding.<ref name="w356">Ward (1968), 356</ref> AAAA

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As with other early van der Weyden depictions of the [[Madonna (art)|Madonna]], her head is slightly too large for her body. Her dress is creased and almost paper-like. However, the description of her lap contains inconsistencies also in Campin's ''Virgin and Child before a Firescreen''; it appears to lack volume and is if she had only one leg. This seems to reflect an early difficulty both with [[Perspective_Perspective (graphical)#Foreshortening|foreshortening]] and in the depiction of a body under clothing.<ref name="w355">Ward (1968), 355</ref>

The chapel is unrealistically small compared to the Virgin; van der Weyden's intention was to emphasise the Virgin's presence while also symbolically representing the Church and the entire doctrine of the [[Redemption (theology)#Christianity|Redemption]].<ref name= "description">Panofsky (1971), 146</ref> The panel is one of three surviving of van der Weyden's wherein which both Madonna and Child are enclosed in this way. However it is unusual in that the niche exists as a separate feature within the picture, compared to the two other works where the enclosure is coterminous with the edge of the painting, almost as part of the frame, a reason why it is thought to predate ''[[Madonna Standing (van der Weyden)|The Madonna Standing]]''.<ref name="w354" />

There are symmetrical differences between the left- and right-hand sides of the painting. This is most noticeable with the [[buttress]], where the receding edges are over half again the size of those on the front sides. In addition, the breathbreadth of the buttress contradicts the spatial depth of the much tighter space inhabited by the Virgin and Child. This is a technical issue with foreshortening Campin also struggled with, but which van der Weyden resolves in his mature work.<ref name="w355" />

The work is rich in symbolism and iconographic elements, to an extent far more pronounced than that in the ''The Madonna Standing''. An [[iris (plant)#In art and symbolismculture|iris]] grows to the side of the [[aedicula]], representing the Virgin's sorrow at the [[Passion (Christianity)|Passion]], and on the other side a [[aquilegia|columbine]], recalling the [[Our Lady of Sorrows|Sorrows of the Virgin]].<ref name= "description" /> This symbolic use of flowers is again a van Eyckian motif. While they may appear incongruous with the architectural setting, this was probably the effect that van der Weyden was seeking.<ref name="b331">Birkmeyer (1962), 331</ref>

[[File:Virgin and Child Enthroned (van der Weyden) Detail2.jpg|thumb|left|Figures to the Virgin's left of the Virgin. [[David]], standing in the centre, holds a harp.]]

The [[lintel]] contains six [[relief]]s from the [[New Testament]] of scenes from the [[Life of the Virgin]]. The first four, the [[Annunciation]], [[Visitation (Christianity)|Visitation]], [[Nativity of Jesus|Nativity]] and [[Adoration of the Magi]], are associated with motherhood and infancy. They are followed by the [[Resurrection of Jesus|Resurrection]] and [[Pentecost]]. Above them, surmounting a [[Passion flower#Etymology and names|"cross flower"]], is the [[Coronation of the Virgin]].<ref name= "description" /><ref name="a83">Acres (2000), 83</ref> The jambs[[jamb]]s on either side of the Virgin are adorned with statues, most likely of [[Old Testament]] prophets. Of these only [[David]], second to the left, has been identified. The bearded man to David's left is probably [[Moses]], the man in the cap to the right is most likely the "weeping prophet" [[Jeremiah]]. On the opposite side, the outer figures may be [[Zechariah (Hebrew prophet)|Zechariah]] and [[Isaiah]].<ref name="b329" />

In his usage of [[grisaille]], van der Weyden distinguishes between the earthly realm of flesh and blood, and the divine, represented by ancient sculptural figures, who appear frozen in time.<ref name="b331" /> Art historian Shirley Blum believes these figures were relegated to the architectural elements so as not to crowd the central devotional image.<ref name="b103" />

die") and are thus tied to the crucifixion. In the van der Weyden they are associated with the Virgin.<ref name="b329" /> Although portraying figures in niches has a long tradition in [[Northern Renaissance#Art|Northern art]], rendering the figures as sculpture was unique to the 1430s, and first appears in van Eyck's ''[[Ghent Altarpiece]]''.<ref name="w354" />

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The panel may have been conceived as either the left-hand wing of a since dismantled diptych, or as the front piece of a double-sided panel.<ref name="h26">Hand et al. (2006), 26</ref> Art historian [[Erwin Panofsky]] suggests that the Washington ''Saint George and the Dragon'' of 1432–35 is the most likely opposite wing.<ref name=Panofsky251 /> In that work, [[Saint George and the Dragon|St. George]], facing inwards and to the right, slays the dragon before a Libyan princess. Although the pairing might seem incongruous, his ''Madonna Standing'' is widely thought to have been attached with the ''St. Catherine of Alexandria'' in Vienna.<ref name=Panofsky251>The Saint Catherine panel is usually attributed to his workshop, based on a design by van der Weyden. See Panofsky (1971), 251</ref> In both panels, the saints face inwards and are within fully realised landscapes. In contrast, in both left -hand panels, the Madonna and Child are positioned frontally (although eye contact is avoided) and isolated within cold grisaille architectural spaces.<ref>Panofsky (1971), 251</ref>

The panel closely resembles van der Weyden's c. 1430–321430–1432 ''[[Madonna Standing (van der Weyden)|Madonna Standing]]'', and seems influenced by the work of Robert Campin, under whom he served his apprenticeship. It is especially close to Campin's 1430 ''Virgin and Child before a Firescreen'', now in London; one of the last works Campin completed before van der Weyden left his studio on 1 August 1432.<ref name="w354" /><ref name="b331" /> In both, the Virgin has large, full, breasts, her fingers pressing as she nurses the Child. There are further similarities in her facial features and expression; the colour, style, and position of her hair; as well her pose.<ref name="b103" /> [[Lorne Campbell (art historian)|Lorne Campbell]] attributes the work to van der Weyden's workshop,<ref>Acres (2000), 105</ref> while art historian John Ward credits it to Campin and gives a date of c. 1435.<ref name="w56">Ward (1968), 354–56</ref>

Ward's thesis is based on the fact that the Thyssen panel, so named after its home at the [[Thyssen-Bornemisza Museum]], is overwhelmingly influenced by Campin, while the contemporaneous and more sophisticated ''Madonna Standing'' draws heavily from van Eyck. He finds such a sudden shift unlikely, while also pointing out that this work evidences some technical difficulties that Campin was never to resolve, especially in respect to foreshortening and the rendering of the body beneath the robes. He also points to the architectural similarities in Campin's ''Marriage of Mary'', although this may be a matter of influence.<ref name="w56" />

Sculptural figuration was to become a hallmark of van der Weyden's mature work, and is best typified by the Madrid ''Descent'', where the mourning figures are shaped and take on poses more usually seen in sculpture.<ref name="b103">Blum (1977), 103</ref> [[Erwin Panofsky]] identified this work and the ''The Madonna Standing'' as van der Weyden's earliest extant work; they are also his smallest panels. Panofsky dated both panels as 1432–34, and believed them to be early works based on stylistic reasons, their near miniature scale, and because of the evident influences of both Campin and van Eyck.<ref name="b329" />

* [[Kenneth Clark|Clark, Kenneth]]. Looking at Pictures. New York: Holt Rinehart and Winston, 1960. {{ISBN |978-0-7195-2704-3}}

* Hand, John Oliver; Metzger, Catherine; Spronk, Ron. ''Prayers and Portraits: Unfolding the Netherlandish Diptych''. New Haven, CT: Yale University Press, 2006. {{ISBN |978-0-300-12155-1}}

* [[Erwin Panofsky|Panofsky, Erwin]]. ''Early Netherlandish Painting: v. 1''. Boulder CO: Westview Press, 1971. {{ISBN |978-0-06-430002-5}}