Madonna of the Harpies: Difference between revisions
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{{art-stub}}Although the style is similar to that of artists such as Leonardo, the figures are portrayed slightly differently in ''Madonna of the Harpies''. The putti (infantile angels) on either side of the pedestal are less supportive and innocent than they were normally portrayed to be in other artists' work. They seem to be inhibiting, rather than benefiting, the Virgin's balance on the pedestal. In addition, they are grinning slightly, appearing to some to verge on demonic. Christ, held up by the Virgin, looks similar to the putti in that he is less idle than he is usually painted. He is depicted with the same grin, and almost seems to be attempting to escape from Mary's hold. This is quite unconventional when compared to similar 16th century works. |
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The strange depiction of the figures in ''Madonna of the Harpies'' has been argued by some to be an attempt to portray the religious power of the figures, and indeed, the saints on the far left and right sides possess the same intensity. |
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Revision as of 19:10, 12 May 2016
| Madonna delle Arpie (Madonna of the Harpies) | |
|---|---|
 | |
| Artist | Andrea del Sarto |
| Year | 1517 |
| Type | oil on wood |
| Dimensions | 208 cm × 178 cm (82 in × 70 in) |
| Location | Galleria degli Uffizi, Florence |
Madonna of the Harpies (Italian: Madonna delle Arpie) is a 1517 painting by Andrea del Sarto, considered his major contribution to High Renaissance art.[1]
It is a depiction of the Virgin Mary and child on a pedestal, flanked by angels and two saints (Saint Bonaventure or Francis and John the Evangelist). Originally completed in 1517 for the convent of San Francesco dei Macci, the altarpiece now resides in the Uffizi. The figures have a Leonardo-like aura, with a pyramid shaped composition.[2]
The main character in the Kürk Mantolu Madonna ("Madonna With A Fur Coat"), a novel written by Turkish writer Sabahattin Ali, is a depiction of the Virgin Mary in Madonna of the Harpies.
References
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Although the style is similar to that of artists such as Leonardo, the figures are portrayed slightly differently in Madonna of the Harpies. The putti (infantile angels) on either side of the pedestal are less supportive and innocent than they were normally portrayed to be in other artists' work. They seem to be inhibiting, rather than benefiting, the Virgin's balance on the pedestal. In addition, they are grinning slightly, appearing to some to verge on demonic. Christ, held up by the Virgin, looks similar to the putti in that he is less idle than he is usually painted. He is depicted with the same grin, and almost seems to be attempting to escape from Mary's hold. This is quite unconventional when compared to similar 16th century works.
The strange depiction of the figures in Madonna of the Harpies has been argued by some to be an attempt to portray the religious power of the figures, and indeed, the saints on the far left and right sides possess the same intensity.