Shadowgraph Of The Virgin And Child

407 Words1 Page

In Italian Paintings XIV-XVI Centuries in the Museum of Fine Arts, Houston by Carolyn C. Wilson, she explains how the Virgin and Child was attributed to Giovanni Bellini when it was first published in the records at Metropolitan Museum in 1923. She did extensive research on the Virgin and Child, and while looking at prior X-radiographs from 1992 she discovered that the Virgin and Child had been reconstructed a few times due to heat damage centrally located on the main subjects. In examining records of documentations of Jack Key Flanagan, a conservationist for the Museum of Fine Arts Houston, he documents in 1954 that the “Madonna’s head had been extended at the back and top, and the white veil had been extended, and the facial features had been overpainted” comparing his observation to a photograph of the Virgin and Child taken in-between 1922 and 1954. Wilson disregard the lost features of the heavily damaged area and examines a 1931 shadowgraphs of the Virgin and Child to compare a few features to Bellini's previous signed works. In other documentation of former restorers, they analyzed and compared a few Giovanni Bellini’s works with the Virgin and Child. Comparing the shadowgraph of the Virgin and Child to Geovanni Bellini’s signed work Madonna and Child (Santa Maria dell’ Orto) of …show more content…

In which on both paintings the Child’s right leg is over the Virgin’s right hand, the right pinky finger is bent in a weird upward angle and the same solemn expression portrayed in both signed paintings. Similarities were even found for the Christ Child comparing him to the two angel in Giovanni Bellini’s Dead Christ Supported by Two Angels (Pieta de Museo Correr) c.1460, having the same expectant expression with open mouths, and having similar disproportionate head, hands and

Open Document