Matteo di Giovanni Civitali (Lucca, Italy, 1436 - 1501, Lucca, Italy)
Virgin Adoring the Christ Child, about 1480
Polychromed and gilded terracotta, 99 x 103 x 38 cm (39 x 40 9/16 x 14 15/16 in.)
This three-dimensional painted sculpture portrays the Virgin kneeling in prayer as the Christ Child kneels at her feet, gazing up at her with love. The Virgin’s is oriented toward our left, with her head bent slightly forward toward the child. Her hands meet in prayer at chest level. Her prominent eyebrows are placed on a high forehead and her eyelids are partially closed. Her long brown hair is pulled back at the base of her neck and drapes over her left shoulder. She wears a flowing blue robe with a dark blue lining and a red mantel with gilt decoration at the neckline. The naked child is positioned to our left, facing up toward his mother with his hands clasped and his head tilted slightly upward. He has brown hair, a high forehead, and round cheeks. There are several areas of flaking paint on the surface; some areas appear to have been repaired or repainted.
Long Gallery
Commentary
These three-dimensional, completely painted figures must have been startling in their believability. The tenderness of the Virgin Mary’s face is matched by her graceful gesture of prayer. Moreover, the infant Christ echoes this act of devotion and love.
The interaction between the Virgin and Christ Child not only has religious meaning, but also provides a model for harmonious family life. The early 15th-century Florentine theologian Fra Giovanni Dominici recommended that images of the Virgin and Child be placed in children’s rooms to provide examples of proper behavior.
The American painter Joseph Lindon Smith brought this work to Isabella Gardner’s attention in 1902. She competed with Wilhelm Bode, director of the Berlin museums and another collector of Renaissance art, to obtain it.
The interaction between the Virgin and Christ Child not only has religious meaning, but also provides a model for harmonious family life. The early 15th-century Florentine theologian Fra Giovanni Dominici recommended that images of the Virgin and Child be placed in children’s rooms to provide examples of proper behavior.
The American painter Joseph Lindon Smith brought this work to Isabella Gardner’s attention in 1902. She competed with Wilhelm Bode, director of the Berlin museums and another collector of Renaissance art, to obtain it.