Name: Gradual 1 for San Michele a Murano (Folio 38v)
Artist: Gherarducci, Don Silvestro dei
Date: 1395
Medium: Tempera and gold on parchment
Size: 570 x 380 mm
Location: The Morgan Library and Museum, New York
This illumination of a scene in the
bible was created when illuminated manuscripts decorated religious texts in libraries
across the world. Not only did these delicate and elaborate illustrations
decorate the text, they also helped compose the texts as huge letters adorned
each page filled with colour and detail rich interpretations of the most
important elements.
This was a relatively late addition
to Gherarducci’s illuminations after he joined the monastery in 1391. It was
however an early piece in comparison with the Italian Renaissance which started
in 1300 until 1550. It was the Italian Renaaissance that was the earliest of
the European Renaissance; a period of great change and achievement. Conflict
during this period was minimal and much of Europe experienced a large growth economically
with cities across Italy expanding greatly. Florance particularly; where this
picture originated, became the financial centre of Italy, where the currency of
international trade named the ‘gold florin’ became established.
The scene in this illumination
depicts the Nativity or birth of Jesus and the Annunciation to the Shepherds. Sat on an elaborately decorated cushion sits
The Virgin Mary who is represented here as a Madonna of Humility who watches as
Joseph kisses his sons feet as he lays in her arms. Although the Annunciation
to the Shepherds is not shown within the larger illustration, it does extend to
the border decoration around the page in the lower left margin. The brushwork
as seen within the majority of illuminations is smooth and utilised with a
delicate hand and stroke in order to make the illustrations appear as realistic
as possible. Typical characteristics of Renaissance art such as the full
background that shows perspective within the picture are seen with the stable
and mountains situated behind The Virgin Mary. The blue clothes that adorn The Virgin
Mary symbolise heavenly grace and the large abundance of greenery refers to her
fertility and the hope she brought along with Jesus’ birth.
Name: Gradual from Santa Maria degli Angeli (Folio 148)
Artist: Gherarducci, Don Silvestro dei
Date: 1365
Medium: Tempera on wood
Size: 41 x 27 mm
Location: Pinacoteca, Vatican
This depiction of The Virgin Mary
is by Gherarducci; the same as the previous image which will allow me to analyse
the similarities and differences between the two paintings. The similar theme
of the Madonna in each painting will also give me a point of reference to
analyse the two different portrayals.
This painting shows the Madonna,
this time dressed in white fabric rather than blue. The white variation
connotes Purity, virginity, innocence and virtue along with a holiness which is
reinforced by the angels surrounding her. She is sat on a boat, being carried
up to heaven whilst the symmetrical characteristics of the angel’s positioning
and equal balance of components reflects upon the reoccurring theme of symmetry
within paintings from the Renaissancce period.
The angel’s expressions are
typically those which show no response to the events of the painting and their
small, slim bodies covered in dresses with no legs are characteristic of the 14th
century style.
The brushwork is almost exactly the
same as the first image despite the 30 year difference between the paintings.
The brush strokes are virtually non-existent whilst the gold leaf covers a
large majority of the image. Although the second image is painted on wood
rather than parchment, this has a very minimal impact on the quality of the
image apart from the brightness of the colours. The colours in the first
painting are well distinguished primary and secondary colours that pop from the
page whilst the darker surface of the wood in the second one has dulled these
colours into more earthy tones.
The size of this image is
significantly smaller than that of the previous one yet this doesn’t affect the
detail included in the picture, particularly as the detail on the face of The
Virgin Mary and those of the angles are arguably more defined and detail rich.
There is a lot more definition within the painting style and the earthier tones
definitely work well with the rose coloured cheeks. The lack of blue in the
second painting is striking considering it plays such a large part in the first
one and I have to assume that in the 30 years separating these works, an
innovation lead to it becoming more attainable and cheaper in price.
I chose to analyse these two paintings because of their prominence in illustration history as illuminations of sacred and religious manuscripts has been of great importance in forming the illustrations we see today. My coursework makes a point of focusing on the modern aspects of illustration and I felt that order to gain a complete perspective of the topic, I had to look at historical elements too. The detail and care taken to complete these works is amazing and completely different to those of today that focus on the aesthetic aspects of the final image. These paintings have meanings behind the colour choices other than the reason ‘because it looks nice’ and are created with a passion and dedication that cannot be replicated within the society seen today that holds such a shallow outlook.
