Comparing the Vladimir Madonna to Giotto’s Madonna Enthroned
Vladimir Madonna
Madonna Enthroned
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I​ will be comparing the Vladimir Madonna to Madonna Enthroned by Giotto. Though separated by time and
location these two paintings share many obvious similarities that show a common conceptual approach and inspiration.
The differences are found in the details and final treatment of painted surfaces and textures and show the progression of
technical aptitude and materials from the 12th to 14th centuries. The overall tone of each piece is very different as well,
and reflects the changing social attitudes and contexts surrounding each ones creation.
​The Vladimir Madonna was painted in Constantinople in the early 1100’s with tempera paint on a wooden panel.
It was believed to have supernatural powers and in 1395 it was moved to Moscow to “save the city from Mongols”, then
later taken to the city of Kazan, where it is credited with saving that city against another invasion. It is a typical example
of a Byzantine icon: simplified, stylized, symbolic imagery with a flattened gold background and the focus and detail on
the eyes and face of the subjects. For this type of art and imagery, the most important element is the emotion in the face
of the subject and it will be expressed at the expense of realism or detail in other areas of the image. The figures heads
are out of proportion with their bodies. The clothing is highly stylized and arbitrary in the placement of folds and
drapery, bearing little relation to any real cloth. The technique used on the infants’ swaddling clothes is much more a
reference to folded and woven fabric than an attempt to depict it. (Interestingly, this particular approach to simplifying
and stylizing now appears much ahead of its time, looking similar to styles used currently in graphic design, comic
illustration, and video game design.)
​As an icon it was used as an aid for prayer and contemplation, with themes including Theotokos (the virgin as the
mother of God, presenting Him in human flesh to the human race) and the love of the Virgin for her son and her sorrow
over his eventual death. It shows an intimate and private moment encouraging the pilgrim or devotee to appreciate the
vulnerability of the Infant Christ and the protection his mother provided. The choice to highlight suffering and loss may
be a reflection of the uncertain and difficult times it was created in; with the devastations of plague and warfare still
sweeping throughout the known world of the time, day-to-day life was likely rather grim. Showing the immortal figures
of their faith suffering the same emotions as the common person was a way to give solace to those for whom life seemed
hopeless. The lack of halo’s or nimbuses also may have reinforced the connection felt by the ordinary people who
traveled to view the icon.
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​Madonna Enthroned was painted by Giotto in 1310 and placed above the altar in a Florentine church dedicated to
all Christian saints. It also depicts the Virgin and Infant Christ, and shares the warm color palette and flat gold
background with the Vladimir Madonna. By Giotto’s time there was a well-established tradition of Virgin and Child
paintings, and Madonna Enthroned follows it with the clothing and color choices, as well as the general layout and
posing of the figures.
​Increased interest in realism and individuality is shown in the detail of the architectural elements and the draping
and folding of the clothing, as well as the attention to capturing accurate skin tone and facial expression in the subjects.
Giotto creates a rudimentary perspective with the throne and its surrounding elements, and a sense of depth with
receding and overlapping background figures. The dimensionality of the image is also enhanced by chiaroscuro effects
and well placed highlights. Giotto’s interest in realistic depiction is also shown in the attention to accurate draping and
folding of the clothing, especially on the Madonna. These developments are in a small part due to increasing quality of
materials (brushes, paints, plaster, etc), but primarily because of increased patronage of the arts in general in Europe, and
particularly Italy. With more resources and time available to artists of the time, steadily increasing levels of sophistication
and technical expertise were achieved. This early stage of the Renaissance very much echoes the beginning of the classic
era that it is inspired by: rapid progression of the arts facilitated by well-established support networks and relatively high
status of artisans in society.
​In tone the Madonna Enthroned is almost the opposite of the Vladimir Madonna; instead of sorrow and
contemplation it emanates exaltation and celebration. Mother and child are smiling, serene and confident, not isolated but
surrounded by adoring angels and saints. This could show an optimism fostered by the re-emergence of order and
relative safety after the dark ages, and the addition of other figures to the image could relate to the increasing proportion
of people living in cities, the increasing size of those cities, and consequently more of a sense of community compared to
the many small and isolated settlements of 200 years earlier. Another explanation for the healthy and happy figures in
Giotto’s painting could be the context and intended placement. As a commission done to enhance the prestige of a client,
making the biblical figures look similar to the intended audience/clientele in terms of expression and bearing was a smart
move on the artist’s part.
​I chose these two images because I felt they were perfect to show the shift from symbolic, content-centric
painting to naturalistic, expressive painting. They are similar enough to easily appreciate the common root and
inspiration, but different enough to clearly indicate the disparate cultures that they arose from. While there are many
incidental elements of beauty and interest in the Vladimir Madonna it’s purpose is not to be beautiful, it’s purpose is to
inspire reflection and piety; on the other hand, the Madonna Enthroned is as much a celebration of life and beauty for its
own sake and a decorative element of an overall theme (the cathedral interior) as it is an image meant to inspire devotion
or contemplation. I feel this shift was the first step on the path leading to “modern” art.
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