{"id":14451,"date":"2022-02-16T16:23:58","date_gmt":"2022-02-16T15:23:58","guid":{"rendered":"https:\/\/www.carrerivegauche.com\/boutique-crg\/vierge-en-majeste-a-fond-dor-primitif-toscan-xive-siecle\/"},"modified":"2022-02-24T11:21:04","modified_gmt":"2022-02-24T10:21:04","slug":"vierge-en-majeste-a-fond-dor-primitif-toscan-xive-siecle","status":"publish","type":"product","link":"https:\/\/www.carrerivegauche.com\/fr\/boutique-crg\/vierge-en-majeste-a-fond-dor-primitif-toscan-xive-siecle\/","title":{"rendered":"Vierge en majest\u00e9 \u00e0 \u00ab fond d\u2019or \u00bb – Primitif toscan – XIVe si\u00e8cle"},"content":{"rendered":"

De forme pyramidale, ce panneau en bois de peuplier est peint \u00e0 la tempera. Il s\u2019agit d\u2019une technique consistant \u00e0 lier les pigments gr\u00e2ce \u00e0 l\u2019utilisation de jaune d\u2019oeuf, caract\u00e9ristique de la production toscane des XIIIe <\/span>et XIVe <\/span>si\u00e8cles. La peinture est rehauss\u00e9e de dorures \u00e0 la feuille, pour le fond de la composition et certains d\u00e9tails. Les \u00ab fonds d\u2019or \u00bb sont directement h\u00e9rit\u00e9s de la tradition artistique byzantine. Particuli\u00e8rement pr\u00e9sente au XIIIe <\/span>si\u00e8cle, apr\u00e8s les croisades qui entrain\u00e8rent une importante venue d\u2019oeuvres orientales en Italie, la \u00ab maniera greca \u00bb, t\u00e9moignant de l\u2019impact immense de la peinture byzantine sur le renouvellement de la peinture occidentale, perdure jusqu\u2019\u00e0 la fin du XIVe <\/span>si\u00e8cle lorsqu\u2019une volont\u00e9 de naturalisme engage les artistes \u00e0 se focaliser sur la repr\u00e9sentation des personnages et du paysage. Ce fond d\u2019or conf\u00e8re un caract\u00e8re profond\u00e9ment divin \u00e0 la composition. Au centre de celle-ci se trouve un majestueux tr\u00f4ne architectur\u00e9, \u00e9pousant la forme du tableau, pos\u00e9 sur un sol pav\u00e9 et d\u00e9cor\u00e9 de motifs g\u00e9om\u00e9triques.<\/p>\n

La Vierge si\u00e8ge sur ce tr\u00f4ne, alors repr\u00e9sent\u00e9e en Maest\u00e0, c\u2019est-\u00e0-dire, Vierge en Majest\u00e9. Un profond int\u00e9r\u00eat est conf\u00e9r\u00e9 \u00e0 son attitude maternelle. En effet, la M\u00e8re de Dieu, tient son divin Enfant dans ses bras, assis sur ses genoux, avec une grande douceur. Elle est v\u00eatue d\u2019une belle robe rouge et couverte du traditionnel manteau bleu, allant de sa t\u00eate \u00e0 ses pieds, dans lequel elle enveloppe tendrement le Christ. L\u2019Enfant J\u00e9sus fait un signe de b\u00e9n\u00e9diction avec sa main droite et tient un oeillet rouge dans sa main gauche. Cette fleur serait n\u00e9e, selon la l\u00e9gende, des larmes de la Vierge tombant au pied de la croix du Christ mort. Cet attribut floral poss\u00e8de donc une double signification, d\u2019une part il est le symbole de la souffrance maternelle \u00e9prouv\u00e9e par la Vierge, et d\u2019autre part, sa couleur rouge est une pr\u00e9figuration de la souffrance future du Christ et de son sacrifice pour l\u2019humanit\u00e9. Le caract\u00e8re divin de cette fleur est d\u2019ailleurs soulign\u00e9 par l\u2019\u00e9tymologie de son nom grec, Dianthus, combinaison des mots Dios (Dieu) et anthos (fleur). Le tr\u00f4ne est flanqu\u00e9 de chaque c\u00f4t\u00e9 de deux couples d\u2019anges aur\u00e9ol\u00e9s, tandis qu\u2019au premier plan se trouvent deux saints. A gauche, Saint Pierre tient fermement son attribut principal, en tant que gardien du Paradis, une clef, qui est une r\u00e9f\u00e9rence \u00e0 la phrase prononc\u00e9e par le Christ d\u2019apr\u00e8s l\u2019\u00e9vangile selon Saint Matthieu (16. 19) : \u00ab Je te donnerai les clefs du Royaume des cieux. \u00bb. De l\u2019autre c\u00f4t\u00e9 du tr\u00f4ne, Saint Paul lui fait face. Il tient l\u2019\u00e9p\u00e9e de son martyr dans sa main droite. Les deux Saints portent des livres soigneusement reli\u00e9s. Seule la Vierge, qui par son r\u00f4le d\u2019intercesseuse entre le Ciel et la terre a une valeur protectrice, regarde en direction du fid\u00e8le. Son regard profond et bienveillant accompagne le croyant dans sa pri\u00e8re. D\u2019autre part, comme dans les Maest\u00e0 de Giotto et de Duccio, conserv\u00e9es dans la salle des Maest\u00e0 des Offices \u00e0 Florence, les anges et les saints ne regardent pas le spectateur mais ont le regard tourn\u00e9 vers la Vierge et son divin fils. Le tableau est r\u00e9alis\u00e9 du point de vue du croyant. Par cons\u00e9quent le fid\u00e8le est invit\u00e9 \u00e0 suivre l \u2019exempl e de s s a int s pe r sonna g e s repr\u00e9sent\u00e9s, et \u00e0 imiter la trajectoire de leur regard. Le croyant regarde l\u2019image de Dieu et non pas l\u2019inverse. Cette pratique d\u2019assimilation du croyant aux saints est caract\u00e9ristique du Bas Moyen-\u00c2ge. Elle plus largement connue sous le nom d\u2019Imitatio Christi, c\u2019est-\u00e0-dire imitation de la vie du Christ, et par extension, de la vie des personnages Saints, dont le culte se diffuse particuli\u00e8rement \u00e0 cette \u00e9poque en raison de leur accessibilit\u00e9 en tant que mod\u00e8les. Ce travail introspectif et personnel s\u2019int\u00e8gre dans un plus large mouvement de d\u00e9votion priv\u00e9e, croissante au XIVe <\/span>si\u00e8cle, dont notre oeuvre est un excellent exemple, l\u2019art \u00e9tant un m\u00e9dium primordial pour la diffusion d\u2019une pi\u00e9t\u00e9 domestique. Le choix des personnages repr\u00e9sent\u00e9s est caract\u00e9ristique des panneaux centraux de triptyques, utilis\u00e9s comme une \u00ab aide \u00e0 la pri\u00e8re \u00bb. De plus, sa petite taille confirme l\u2019hypoth\u00e8se selon laquelle il s\u2019agissait d\u2019un objet de d\u00e9votion \u00e0 la destination des la\u00efcs, comparable dans son utilisation \u00e0 un livre liturgique tel qu\u2019un livre d\u2019Heures ou un missel. Bien qu\u2019encore emprunte d\u2019un fort h\u00e9ritage m\u00e9di\u00e9val, notamment remarquable \u00e0 l\u2019emploi du fond or et du tr\u00f4ne massif de la Vierge, notre oeuvre t\u00e9moigne d\u00e9j\u00e0 de la Renaissance naissante des XIIIe <\/span>et XIVe <\/span>si\u00e8cles, plus commun\u00e9ment appel\u00e9e \u00ab primitive \u00bb. Les artistes tentent de se d\u00e9tacher progressivement de la tradition picturale afin de conf\u00e9rer \u00e0 leur production une valeur plus \u00ab r\u00e9elle \u00bb. Ils annoncent un nouveau courant plastique, mat\u00e9rialisation de l\u2019Humanisme, cherchant \u00e0 offrir des figures avec un nouveau r\u00e9alisme, moins symbolique, dont le christianisme s\u2019impr\u00e8gne pour se rapprocher des fid\u00e8les. Les visages de nos huit personnages, aux traits fins et doux, profond\u00e9ment humanis\u00e9s ainsi que la virtuosit\u00e9 et l\u2019inventivit\u00e9 plastique du peintre s\u2019int\u00e8grent donc tout \u00e0 fait dans la continuit\u00e9 de la production des artistes primitifs en Toscane au XIVe <\/span>si\u00e8cle, et en particulier de l\u2019artiste florentin Bernardo Daddi.<\/p>\n

_______________________________________<\/p>\n

Pyramidal in shape, this poplar wood panel is painted with tempera. This is a technique that consists of binding pigments using egg yolk, characteristic of Tuscan production in the 13th and 14th centuries. The painting is enhanced with leaf gilding, for the background of the composition and certain details. The \u00ab\u00a0golden backgrounds\u00a0\u00bb are directly inherited from the Byzantine artistic tradition. Particularly present in the 13th century, after the Crusades, which brought an important influx of oriental works to Italy, the \u00ab\u00a0maniera greca\u00a0\u00bb, testifying to the immense impact of Byzantine painting on the renewal of Western painting, lasted until the end of the 14th century, when a desire for naturalism led artists to focus on the representation of figures and landscape. This golden background confers a profoundly divine character to the composition. In the centre of the composition is a majestic architectural throne, which follows the shape of the painting, placed on a paved floor and decorated with geometric motifs. The Virgin is seated on this throne, which is then represented as Maest\u00e0, that is, Virgin in Majesty. A deep interest is conferred on her maternal attitude. In fact, the Mother of God holds her divine Child in her arms, sitting on her lap, with great gentleness. She is dressed in a beautiful red robe and covered with the traditional blue mantle, from her head to her feet, in which she tenderly wraps Christ. The Child Jesus makes a sign of blessing with his right hand and holds a red carnation in his left hand. According to the legend, this flower was born from the tears of the Virgin falling at the foot of the cross of the dead Christ. This floral attribute therefore has a double meaning, on the one hand it is the symbol of the maternal suffering experienced by the Virgin, and on the other hand, its red colour is a prefiguration of Christ’s future suffering and sacrifice for humanity. The divine character of this flower is underlined by the etymology of its Greek name, Dianthus, a combination of the words Dios (God) and anthos (flower). The throne is flanked on either side by two pairs of haloed angels, while in the foreground are two saints. On the left, St. Peter holds firmly to his main attribute, as the guardian of Paradise, a key, which is a reference to the phrase spoken by Christ according to the Gospel according to St. Matthew (16:19): \u00ab\u00a0I will give you the keys of the Kingdom of Heaven. \u00bb. On the other side of the throne, Saint Paul faces him. He holds the sword of his martyrdom in his right hand. Both Saints carry carefully bound books. Only the Virgin, who by her role as intercessor between heaven and earth has a protective value, looks towards the faithful. Her deep and benevolent gaze accompanies the believer in his prayer. On the other hand, as in the Maest\u00e0s of Giotto and Duccio, kept in the Maest\u00e0 Hall of the Uffizi in Florence, the angels and saints do not look at the spectator but look towards the Virgin and her divine son. The painting is made from the point of view of the believer. Therefore the faithful are invited to follow the example of the holy figures represented, and to imitate the trajectory of their gaze. The believer looks at the image of God and not the other way around. This practice of assimilating the believer to the saints is characteristic of the Late Middle Ages. It is more widely known as Imitatio Christi, i.e. imitation of the life of Christ, and by extension, of the lives of the Saints, whose worship was particularly widespread at that time because of their accessibility as models. This introspective and personal work is part of a wider movement of private devotion, growing in the 14th century, of which our work is an excellent example, art being a primary medium for the spread of domestic piety. The choice of the characters depicted is characteristic of the central triptych panels, used as an \u00ab\u00a0aid to prayer\u00a0\u00bb. Moreover, its small size confirms the hypothesis that it was a devotional object intended for the laity, comparable in its use to a liturgical book such as a Book of Hours or a missal. Although it still borrows from a strong medieval heritage, notably remarkable for the use of the gold background and the massive throne of the Virgin, our work already bears witness to the nascent Renaissance of the 13th and 14th centuries, more commonly known as the \u00ab\u00a0primitive\u00a0\u00bb. Artists are trying to gradually detach themselves from the pictorial tradition in order to give their production a more \u00ab\u00a0real\u00a0\u00bb value. They heralded a new plastic current, the materialization of Humanism, seeking to offer figures with a new realism, less symbolic, with which Christianity is imbued to get closer to the faithful. The faces of our eight figures, with their fine, soft, deeply humanized features, as well as the virtuosity and plastic inventiveness of the painter, are thus completely in line with the production of primitive artists in Tuscany in the 14th century, and in particular the Florentine artist Bernardo Bernardo Daddi, Virgin and Child, 1334, tempera, 56\u00d726 cm, The Uffizi, Florence Daddi.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u2022 Mat\u00e9riaux : <\/b>Tempera et feuilles d\u2019or sur panneau de bois de peuplier<\/em><\/p>\n

\u2022 Dimensions : <\/b>H. 44 cm , l. 24 cm<\/em><\/p>\n

\u2022 Origine :<\/b> Ecole toscane<\/em><\/p>\n

\u2022 P\u00e9riode : <\/b>XIVe <\/span>si\u00e8cle<\/em><\/p>\n

\u2022 Etat de conservation : <\/b>Exceptionnel \u00e9tat (quelques restaurations anciennes)<\/em><\/p>\n

_____________________________<\/p>\n

\u2022 Materials: <\/b>Tempera and gold leaf on poplar wood panel<\/em><\/p>\n

\u2022 Dimensions : <\/b>H. 44 cm , W. 24 cm<\/em><\/p>\n

\u2022 Origin: <\/b>Tuscan School<\/em><\/p>\n

\u2022 Period : <\/b>XIVth century<\/em><\/p>\n

\u2022 State of conservation: <\/b>Exceptional condition (some old restorations)\u00a0<\/em><\/p>\n","protected":false},"featured_media":14448,"template":"","meta":[],"product_brand":[],"product_cat":[226],"product_tag":[],"class_list":{"0":"post-14451","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-piatti","7":"description-off","9":"first","10":"instock","11":"shipping-taxable","12":"product-type-simple"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product\/14451","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media\/14448"}],"wp:attachment":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media?parent=14451"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_brand?post=14451"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_cat?post=14451"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_tag?post=14451"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}