Seeing Mary in renaissance Italy

The Virgin Mary was one of the most common subjects in Italian renaissance art. Learn about some of the reasons why, and explore how Marian images transform over time.

Cimabue, Santa Trinita Madonna and Child Enthroned

Cimabue, <em>Santa Trinita Madonna and Child Enthroned</em>

By Dr. Beth Harris, Dr. Steven Zucker

This huge panel hints at the coming Renaissance, but the figures remain weightless and their features, elongated.

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Giotto, The Ognissanti Madonna and Child Enthroned

Giotto, <em>The Ognissanti Madonna and Child Enthroned</em>

By Dr. Beth Harris, Dr. Steven Zucker

This is a Mary like we’ve never seen before—she’s more monumental and sits in a space that makes sense.

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Duccio, Maesta

By Dr. Beth Harris, Dr. Steven Zucker

Many, many panels made up this massive altarpiece. Dedicated to Mary, it stood in the crossing of Siena Cathedral.

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Simone Martini, Annunciation

By Dr. Beth Harris, Dr. Steven Zucker

Girl, interrupted—Mary’s initial reaction to Gabriel adds human experience to the dignity and grace of this scene.

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Fra Filippo Lippi, Madonna and Child with Two Angels

Fra Filippo Lippi, <em>Madonna and Child with Two Angels</em>

By Dr. Beth Harris, Dr. Steven Zucker

For all its symbols of holiness, this painting revels in mischief—and in sheer beauty.

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Domenico Veneziano, Saint Lucy Altarpiece

By Dr. Beth Harris, Dr. Steven Zucker

This sacred conversation bridges millennia and takes all types, from tough John the Baptist to faithful St. Lucy.

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Perugino, Decemviri Altarpiece

By Dr. Beth Harris, Dr. Steven Zucker

Perugino was more than just the teacher of Raphael.

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Giovanni Bellini, San Zaccaria Altarpiece

Giovanni Bellini, <em>San Zaccaria Altarpiece</em>

By Dr. Beth Harris, Dr. Steven Zucker

Bellini opens up this painting’s space, but holds the viewer at bay. The mood is calm, solemn, and contemplative.

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Leonardo, The Virgin and Child with St. Anne and St. John the Baptist (Burlington House Cartoon)

By Dr. Beth Harris, Dr. Steven Zucker

Though unfinished, this large drawing perfectly blends human intimacy and divine beauty.

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Michelangelo, Pietà

By Dr. Beth Harris, Dr. Steven Zucker

Can stone be that soft? Contrast defines this sculpture. Mary is sweet but strong, and Christ, real yet ideal.

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Raphael, La belle jardinière (Madonna and Child with Saint John the Baptist)

Raphael, <em>La belle jardinière (Madonna and Child with Saint John the Baptist)</em>

By Dr. Beth Harris, Dr. Steven Zucker

No throne? With Raphael, beauty stands in for divinity, and nature itself becomes Mary’s domain.

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Titian, Assumption of the Virgin

Titian, <em>Assumption of the Virgin</em>

By Dr. Beth Harris, Dr. Steven Zucker

Following the outstretched arms of the apostles, we look up to Mary and arrive at a circle of light.

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Parmigianino, Madonna of the Long Neck

Parmigianino, <em>Madonna of the Long Neck</em>

By Dr. Beth Harris, Dr. Steven Zucker

What happened? In this twist on Renaissance art, Parmigianino distorts human anatomy to absurd effect.

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