The Met's New Gem

In a little room at the Metropolitan Musem of Art, a dozen golden icons huddle around a shining Virgin Mary and Christ, observing the paintings that constitute the museum’s exhibit “Duccio’s Madonna and Child.”

Along with Giotto di Bondone, Duccio di Buoninsegna is one of the founders of European Renaissance art. His 14th Century work represents a bridge from the rigid, apathetic style of Byzantine icons to the passionate, naturalistic style of Renaissance paintings.

In Byzantine representations of the Virgin and Christ, an emotional connection between the mother and child is not visible. In most cases, each stares into the distance rather than meeting the other’s gaze.

The central piece of the exhibit is Duccio’s masterpiece, “Madonna and Child” (c. 1300), which the Met recently acquired for $45 million, a figure that becomes rational when considering the intricate beauty and the historical significance of the piece.

“Madonna and Child” best demonstrates the break from Byzantine tradition in its portrayal of Mary in flamboyant green and its depiction of her staring tenderly down at her child. Her eyes are slightly hazy, as if dampened by affection, and her mouth shows the origins of a smile. The child responds, staring into his mother’s eyes as he playfully tugs at her veil. At the bottom of the painting lies a parapet upon which the Madonna stands. Seemingly a minor detail, the parapet marks yet another artistic step towards the Renaissance, placing the Madonna and Christ in the material world.

Surrounding the magnificent couple are masterpieces by Duccio’s fellow artist, Giotto. In his “Epiphany” (c. 1320), Giotto shades the characters’ faces, creating a three-dimensional illusion. The illusion of space was seldom explored in Byzantine art, which instead emphasized flatness.

The works in “Duccio’s Madonna and Child” are all historically and artistically significant, presenting a period of transition between two radically different artistic epochs. What is disappointing, however, is the failure of the exhibit to provide any contrasting pieces. Some Byzantine pieces would be necessary to articulate the contrast visually and show the artistic world in which Duccio lived. Though the exhibit lacks a clear thesis, it does stand as a pleasurable display of sublime Italian icons.

“Duccio’s Madonna and Child” is on view at the Met, 5th Ave. at 82nd St. through March 13, 2005.