The Mother of God of Vladimir by School: Moscow

The Mother of God of Vladimir

76 x 52,5 cm

Date: late 15th century – beginning 16th century
Medium: tempera on wood panel

Introduction

The iconography of the Mother of God of Vladimir was made in Moscow in the late 1400s and early 1500s, a copy of a Byzantine iconography that reached the ancient Russian territory in 1131, touching the cities of Kiev, Vladimir and Moscow, where it is currently located. The name Vladimir, found in the iconography's title, derives precisely from the name of the Russian city where the work was greatly venerated for its miracles. Countless copies were made from this Byzantine model for churches and monasteries throughout the country: the iconography in the Intesa Sanpaolo collection is one of the most faithful copies in terms of design, colour and dimensions, which are very close to the original.

The work is located at Gallerie d'Italia - Vicenza.

The iconography of the Mother of God of Vladimir was made in Moscow in the late 1400s and early 1500s, a copy of a Byzantine iconography that reached the ancient Russian territory in 1131, touching the cities of Kiev, Vladimir and Moscow, where it is currently located. The name Vladimir, found in the iconography's title, derives precisely from the name of the Russian city where the work was greatly venerated for its miracles. Countless copies were made from this Byzantine model for churches and monasteries throughout the country: the iconography in the Intesa Sanpaolo collection is one of the most faithful copies in terms of design, colour and dimensions, which are very close to the original.

The work is located at Gallerie d'Italia - Vicenza.

On the wooden panel, the tender embrace of the Mother with her Child is depicted. Mary is shown from the front, half-length, wearing a purple mantle richly edged with gold fringing.

Her face is characterised by a closed and thin mouth, a narrow and long nose, and elongated almond-shaped eyes. Particularly striking is the gaze, turned towards the visitor and at the same time in the act of intimately conversing with her son.

With her right hand Mary is holding her son who is resting his face on hers, while she is lovingly touching him with her left.

The Child also makes delicate gestures: his left arm, hidden by the veil, is encircling his mother's neck and is caressing her face with his hand, while his right hand is resting on the mantle at shoulder level.

The Child is wearing a long golden dress, decorated with a dark belt.

Alighiero Boetti MappaMadre di Dio Vladimir

The iconography has been painted several times and still bears the marks of these successive "restorations." The painted surface of the two figures is rather abraded, traces of old gilding can be seen, as well as the presence of nails and holes left by other nails tracing the design of the haloes above the heads of the two figures, a sign that the iconography was originally decorated with a metal covering resting on the crowns of light.

Despite the damage to the paint, the iconography is a precious testimony of Moscow art, for the rhythm and sweetness of its lines, for the subtlety of the combinations of golden, green and purple hues in the robes and for the sad pensiveness of the Virgin and Child, who dialogue intimately with their gazes.