An Amalgamation of Socio-Religious Influence: Madonna Depictions in New Spain
No image permeates Christian Art more than the image of the Madonna. From its earliest depictions in Europe and its manifestations in the Byzantine, Medieval, and Renaissance eras, the iconic image of the Virgin Mary has resonated with audiences for centuries. While this image dominated religious art in Europe, it also gained prominence in New Spain during the pre and postcolonial periods. Various depictions of the Madonna emulated the development of the viceroyalty as well as the religious viewership of its citizens through racial blending. Through the unification of these cultures and their ideologies, depictions of the Virgin aided in creating an identity that
…show more content…
reflected an emerging civilization and the people that helped cultivate it. Trans-religious hybridity amongst indigenous natives in New Spain and those from Europe played leading roles in shaping Marian art. Examples of this can be seen by examining depictions of the Madonna and its journey into New Spain from Europe through the Catholic Church and the Spanish conquest. These artistic depictions were shaped by the varying cultural ideals of indigenous peoples, Spaniards, and mixed races alike, conforming to the beliefs that each racial/ethnic group valued the most. Briefly examining several artistic depictions of the Virgin in colonial New Spain, over a span of three hundred years (1500-1800), the development and evolution of the Madonna image can be explored interdisciplinary through the variances of region, culture, politics, and religion.
How did these factors contribute to the creation and popularity of the mystical Virgin of Guadalupe (1531) that would set the standards for future generations of art? What did these images of a non-pagan religious figure mean in terms of the religious and cultural hybridization and iconographic tradition of Madonna art in New Spain? This paper examines the construction of a “black Madonna” and how the image of the Virgin became an iconic symbol in the …show more content…
Americas. Mary the mother of Jesus, also known as the “Virgin” and/or “Madonna” is an important symbol in the history of Christianity and is only second to depictions of Jesus Christ. The status and image of the Virgin Mary and its power of influence was prominent in the sixteenth and seventeenth-centuries throughout Europe and quickly spread to various countries around the world. The Virgin image is a symbol of Christian focus, ceremonial prayer, penance, and suffering for millions of Christians around the world. Madonna imagery alludes to artistic renderings that are devotional rather than narrative in a non-historical context. Recognized by her attire and appearance, the Madonna is often interpreted as a young woman, who wears a blue cloak over a red robe, with her head bowed and hands clasped in prayer. A mantle and silk veil normally covers the Virgin’s head, although her head may appear uncovered. The “Madonna” prototype in art refers to a portrait style of the Virgin depicted either alone or with the Christ child.
Translated as “Our Lady” or “Theotokos” (Mother of God) in the Byzantium period, the Virgin archetype varied visually on the socio-religious standards and traditions of the culture and artist that created it. The representation of the Madonna image is based upon several classifications that explain the relationship between the Virgin, the prominence of Marian devotion, and her devout Christian followers who address her in prayer. One of these classifications includes the “Portrait Madonna”, in which the Virgin is depicted in solitude and poised in prayer. Breaking down the classification of the portrait Madonna even further, there are three major types of presenting the Virgin in solitude and has doctrinal significance. The first is the Madonna of Mercy, which expresses the Virgin Mary as a protector of the world, with her followers sheltering for protection under her cloak. The second is the Madonna of the Rosary, giving her assent to various saints, and the third is the Virgin of Immaculate Conception; visually illuminating the idea that the Virgin is pure and free from original sin. The latter of the three became the most popular in New Spain and led to new incarnations of the
style. Briefly looking a few earlier depictions of the Madonna from the Byzantine and Baroque era, one can see how the image of the Madonna manifested itself into a crossbreed creation of socio-religious influence. Located in the main apse of the cathedral of Santa Maria Assunta on the island of Torcello, in Venice, Italy, the Byzantine influenced Mosaic of the Mother of God (fig. 1) from the twelfth century is an example of early depictions of the Virgin in Europe. The Virgin was known as the “Mother of God” and was in direct reference to the salvation given to her at the moment of God’s incarnation. Standing isolated against a gold mosaic background above a register of saints, the Virgin’s charismatic presence is blatant. Dressed in a blue cloak with gold fringe, the Virgin’s gaze is outward and direct as she holds the Christ child. With the exaggerated lighting of the cathedral, the emotive dynamism of the Virgin’s face, and symbols indicative of the early Eastern Orthodox Church, this depiction of the Virgin corresponds with the style that characterized the religious expression of the period; specifically in terms of the translation of church theology into visual imagery and a physiognomy that represented a multiethnic population.
I found the photography piece “From the Road to Tepeyac,” by Alinka Echeverria intriguing. This photography piece was a man kneeling down with a sculpture tied to his back. The woman in the statue had a green flag with multiple stars draped around her. This woman appeared to be the Virgin Mary. Underneath the Virgin Mary was an angel with green, white and red wings. The colors on the flag around the Virgin Mary and the angel’s wings represent Mexico. Also, the stars on the flag present the repetition constructed in this photography piece. There is no physical line for the foreground; however, this piece directs the eye from one point to another by implication. When I first saw this photography piece, I questioned why the statue of the Virgin Mary and an angel were on the man’s back. I realized the Virgin Mary and ...
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
Our lady of Guadalupe is the most venerated and respected by the Catholics. The appearance of the Virgin caused a great commotion in the Catholic Church. Ever since the Virgin's first appearance, Catholics have respected and acquired so much faith to the Virgin. The lady of Guadalupe has so many faithful followers that believe in her without any hesitation because of the miracles that she has made for the people that were once suffering and were miraculously helped by her. Because of the help that she has provided for those who were suffering people never forget her and they celebrate the day of her appearance every year by doing parties in her honor. The Lady of Guadalupe’s appearance certainly changed the belief of Catholics and, I believe
Jacopo del Sellaio’s Virgin, Child, and St. John is a characteristically iconographic tempera panel painting of Madonna, the Christ Child, and the infant St. John from the early renaissance, dating to the early 1480s. Sellaio was a Florentine painter under the apprenticeship of Sandro Botticelli, which reflects through his style and symbolism in the painting. In this work, he depicts a classically devotional scene filled with biblical symbolism. Sellaio’s Virgin, Child, and St. John expresses Mary’s loving role as Christ’s mother, the protective power and warmth of her maternal bond, and the significance of the birth of Christ.
The traditions my parents instilled in me at a young age are important to me. They are part of my Latin culture and identity. One of the most important traditions that I value the most is our devotion to “La Virgen de Guadalupe” (The Virgin of Guadalupe), and although I don't go to church or share a specific a religion, I believe in La Virgen as a protector and a guardian figure and maintain her presence in my daily life.
The depiction of Madonna and Christ is among the most ancient and common in Christian iconography and has an extensive number of variations because apart from its symbolic religious functions, it allows one to interpret the link between mother and child in many aspects. (8)
South University Online. (2013). HUM 1002: History of Art from the Middle Ages to Modern Times: Week 4: Art of the Americas: 14th Century to the Present. Retrieved from myeclassonline.com
This is displayed in Parmigianino’s painting, Madonna of the Long Neck. During this time the Catholic Church was in a transition period, moving from their recent reputation and becoming a well-respected organization. During this reform, an autobiography written by Layola about Saint Teresa of Avila set a new tone for Catholics to follow. This influenced people to have a more spiritual outlook on life.
“The Met’s very own Mona Lisa” (Tomkins 9). That is what Duccio di Buoninsegna’s Madonna and Child painting is known as today. “The Metropolitan Museum of Art bought the Madonna and Child for forty-five to fifty million dollars” (Tomkins 1). However, the painting was not always in public hands; in fact, the Met purchased the last known work of Duccio in private hands. Originally, the painting was held in the private hands of Adolphe Stoclet and his wife. When the couple died, their house and their collection went to their son, Jacques who held onto the painting, and passed it down to his daughters who lent it to an exhibition in Siena of Duccio and his school. The painting was eventually withdrawn from the exhibition and sold (Tomkins 2). Madonna and Child painting dated 1300 and was painted by Duccio di Buoninsegna a Sienese painter, who is considered the founder of modern Italian painting. I chose to research this painting because the subject matter of religious imagery and symbols interests me. Also because when I looked at the painting the emotion on the Madonna’s face almost jumped out at me. It is as if, she is looking at her newborn child with this deep sadness, which almost makes you think that the painting is foreshadowing the death of Jesus Christ. In addition, the burns of the side of the frame peaked my interest, as to why they were there. Art critics were also interested in this work they even consider Madonna and Child one of Duccio’s perfect works, and it said to be worth all the other paintings exhibited under the name of Duccio (Christiansen 14). The Madonna and Child painting’s iconography, imagery, emotional appeal to the viewers, and meaning all make this painting still a great work of art today.
One of Piero della Francesca’s well known paintings known as, Madonna and Child with Two Angels (Senigallia Madonna), is a piece that caught my eye while browsing The Metropolitan Museum of Art located on the Upper East side of Manhattan. This piece, created circa 1478 was done in Sansepolcro, Italy and was executed with oil paint on wood sized at 24 in. x 21 1/16 in.. Piero della Francesca’s biblical portrait of the Virgin, Christ, and angels is a central icon in the Catholic church specifically of the Renaissance (rebirth) in Italy. Throughout this piece, there is an underlying theme of the Virgin Mary’s son, Jesus Christ as he is intimately represented. It is an iconic scene that has been depicted by many different artists of the Renaissance but the way that Piero della Francesca represents his iconic piece differs in that it is more than a portrait, it is a scene of the Virgin Mary and her child being blessed.
The Art of Featherwork in Mexico, a book, focuses on the influence how the European settlers influenced the featherwork art of the indigenous people in Mexico. One of the specific paintings that had been created by the indigenous and influenced by the Europeans was the Mass of Saint Gregory (Misa de San Gregorio). The picture was created to show the Mystery of the Eucharist while incorporating various symbols associated with the Passion of Christ. The image is said to have been influenced by previous works of art including Flemish engraving created by two artists from Amsterdam in 1520. According to the text, the image of Christ in the scene was the typical representation of him in the sixteenth century. The image contains a lot of symbolism
Madonna is a controversial legend whose attitudes and opinions on sexuality have forced the public to take notice and change the image of females in society. Madonna believed women’s sexuality was a natural aspect of life; therefore, she dared to challenge the rules and definitions of femininity and sought to expand the meaning of it. In a male dominated world, she wanted to focus on the importance of women and let them have a voice of their own. Madonna shattered all the myths on traditional beauty standards and made her statement on sexuality and feminism, which changed how society viewed the standards of beauty. She impacted female power by encouraging sex- positivity into her music and her style. It is mainly because of Madonna that ordinary women, and women in modern entertainment have more choices and freedom which continues to influence further generations.
The books Divine Mirrors: The Virgin Mary in the Visual Arts and Mary Through the Centuries: Her Place in the History of Culture bring up two ideas of how the Virgin Mary is viewed in Islam. One being that she is merely human, and only important because of her role in Jesus’ story and the other being that she possesses spiritual importance, as she was specifically chosen for this role and had direct communication with a sacred being, the angel Gabriel. Varying depictions of Mary, in manuscripts, further illustrate the ambivalent and complex debates centered on her role as merely the vessel for a prophet or as a significant being, in her own right. In her essay, “Marian Parallels in the Qur’an and Hebrew Bible,” in Divine Mirrors: The Virgin Mary in the Visual Arts, Melissa R. Katz introduces the idea of Mary having less importance than her son, Jesus.
The Virgen of Guadalupe was and still is a popular national symbol to the Spanish culture. She’s also known as “Virgen Mary”. According to the theory, she appeared in front of St. Juan Diego’s eyes in 1531. Ever since our lady Virgen Mary has made a great impact in people’s life. The Virgen of Guadalupe has a special role in Mexico’s religious life.
Concepts: Mary was a great believer and lover of Jesus Christ because of her repentance of her sins that he forgave her. Mary Magdalene is a universal biblical figure besides Jesus Crist and the Virgin Mary. The first two of the artworks are religious art that are for church purposes and the last artwork is not is a church but it’s for Catholicity display. Religion has to do with forgiveness, sacrifice, faith, since, repentance, spiritual, light, and darkness. Magdalene is mentioned in the gospels and apostles.