Madonna Litta

The title of this work is Madonna Litta. Madonna Litta received its name from a previous owner, the art collector, Antonio Litta. Scholarly opinion is divided on whom to attribute the piece of work to. Most believing it to be the work of a Leonardo Da Vinci, but some claim it could be the work of a pupil Giovanni Antonio Boltraffio. The painting was thought to be created in the late 14th century more closely around mid 1490s in Milan, Italy. It was a piece of artwork that brought the arrival of a new period in art, which become known as the High Renaissance. The painting is currently housed at The Great (old) Hermitage Museum in St. Petersburg room 214.

Leonardo di ser Piero da Vinci was born in Vinci, near Florence in 1452. Most commonly known for his work in painting; Da Vinci was an expert in a large number of different fields, including astronomy, geology, mathematics, and music. He started his career by first received his artistic education in the workshop of Andrea del Verrocchio. While during his time studying and honing in on his craft, he already created Ginevra de’ Benci, which now hangs in the National Gallery of Art in Washington, DC. After he had finished his apprenticeship in 1478, he moved to Florence, and in 1482 he moved to Milan until 1499. There he worked on many different projects. He was known for moving on to the next project leaving the previous one unfinished. This is what allowed for controversy in some artworks including the Madonna Litta. There’s little doubt that Da Vinci had a hand in the Litta, however it is awkwardly composed and more likely was completed by one of his protégés. Over the next decade, he lived in several different places in Italy. During this time, he created his famous Mona Lisa. Leonardo died at Clos Lucé, on 2 May 1519 at the age of 67. The cause is generally believed to be a recurrent stroke. It is said that Vasari has records stating that the king held Leonardo’s head in his arms as he died, although this story may be legend rather than fact.

During Da Vinci’s beginning Florence was at the center of the Christian Humanist culture. This study spread across Europe between the 14th to 16th centuries. This Renaissance movement combined a revived interest in the nature of humanity with the Christian faith. It impacted art by changing the focus of religious scholarship, formed personal spirituality, and helped encourage the Protestant Reformation. This was a rebirth not only for culture but Art and human behavior. This rebirth influenced art by the emerging of small alter figures or a small alter child. The theme of a small child occurred in many of Da Vinci’s later paintings.

An interesting fact about Leonardo da Vinci was the fact that he was the son of a prominent attorney notary and a young peasant girl. He was born out of wedlock and raised by his father and several stepmothers. His early years were spent living on his father’s family estate in Vinci, and this is where he met his first influencer, his uncle. His uncle helped Da Vinci form a love for nature and played a hand in raising him in his younger years. Though throughout his career he was influenced by Andrea del Verrocchio, John Argyropoulos, and Lorenzo de’ Medici. Da Vinci had many friends who are now well-known either in their fields or for their historical significance, but beyond friendships his private life was kept a secret.

The Madonna Litta stands at a height of 42 cm (16.5 in) and a width of 33 cm (12.9 in).

It is a tempera and oil on panel, transferred to canvas. Tempura also known as egg tempura is a painting technique , consisting of color pigments combined with water soluble binder such as egg yolk. The painting was then transferred, due to being unstable or cracked. The painting is saved from its distorted wood support and transferred to canvas or a new panel. This type of conservation has been practiced since the eighteenth century.

The composition is simple and balanced. The portrait is set in a dark interior while the figures of the Madonna and the Christ child use light and shade. Just outside the dark interior is a blue sky and bright clouds and a set of mountains. The windows have a perspective where it is possible to view the colors in side where the Madonna is standing. We can see that the Madonna is dressed in a soft scarlet dress with a gold and blue mantle over her shoulder. Both the mantle and her garments are deeply detailed. Its possible to observe the golden pattern that is printed on the red dress.

There are strong contrasts between light and dark in the three-dimensional objects, such as the human body and the background. The figures are set in a dark interior with, while the strong lighting creates highlights and shadows enhancing the physical form. The bright colors help us associate it with positive energy and heightened emotions. In the distance the mountainous landscape also gives us a feeling of light and happiness, with the blue skies and bright white clouds. Due to the skies outside we can assume this portrait was made to portray mid day.

The focal point to this piece of artwork is clearly the Madonna and child. This is the area of the painting that demands the most amount of attention and our eyes are drown to. The artist wants us to recognize Marry and the Christ child because they are the reason this painting was created. They are the only focal point and help to tell the story of the proud mother who is blissfully feeding her child.

There is a very present foreground with a modest background in the distance. This shows depth in a subtle way that doesn’t use too much detail or clutter in the work. The figures are standing right in the middle of the two windows, and the whole painting has a very symmetrical and regular, stable atmosphere. Marry and the Christ child are given implied volume, giving there faces a three-dimensional look. In actuality, however, it is a two-dimensional artwork, a print. Mass or volume are simulated in this two-dimensional work though the use of: modeling and shading.

Symbolism can be seen all throughout the artwork. The two figures are depicted as the Virgin Mary and the Christ child. The Virgin Mary is breastfeeding Baby Jesus, known as the Madonna Lactans, this shows motherhood and motherly love. The blue mantle of Mary symbolizes the Church while her red dress is a symbol of the passion of Christ. The next place you will find symbolism is in the goldfinch, this is a symbol of the future crucifixion of Jesus. Finally the mountain landscape in the background represents the greatness of the Creation of the world by God. The whole piece is one giant symbol for the life of Christ from childhood to adulthood.

When I look at the painting of Marry and the Christ child I get a feeling of peace and calm. The face of Mary is a convincing part of this painting. It is beautifully executed with the Virgin’s head tilted downward in a loving gaze at her feeding child. The Christ Child stares back at us in a pose that looks to be uncomfortable as he clings to his mother. All in all while looking at this painting it is easy-to-understand because it portrays a simple message. Because of the dark background contrasting with their light bodies it helps us realize this is a happy moment between mother and child. While analyzing this painting it was the easy to discuss each topic, Leonardo laid out everything in a simple effective manner to help express his vision.