The Virgin's Passion
The Gothic Diptych at the Minneapolis Museum of Art, which isattributed to the Master of the Passion Diptych, seems at first glance tobe a fine example of the mixed mannerism and classicism typical of a timein transition between Gothic and Renaissance styles. The small ivorypanels, which are dated at approximately 1375, have a deeply traditionalsubject matter. They portray a series of scenes from the life of Christ,beginning with the Annunciation and proceeding through his birth, adorationby the Magi, betrayal, death, ascension, and the final gift of his spiritto the people at Pentecost. These subjects are executed skillfully in thetiny medium (the entire work in less than 9 inches tall), with carefulattention paid to the expression and placement of the figures. Stylistically, this piece seems both common to its time and yet alsoenlightening as to its historical moment. There is a certain classicalstylization to the flow of the drapery and clothing about the figures whichhas evolved from the more formless shapes of the earlier middle ages, andhints at an evolving classicism and awareness of form that heralds theoncoming Renaissance. The characters are in constant contorting motion,
Here there seems to be more of a focus on the link between them,and the very real maternal instinct and humanity of the great mother andher son. ThePassion Diptych is a prototypical work for its era that shows the strongdevelopment of the cult of the virgin. The scene of his crucifixionshunts him off to one side, and the viewer's attention is strangely drawnback and forth between the two strong opposing male figures at oppositeends of this frame (one assumes the other male to be God the fatheroverseeing the death of his child)l, so that it is almost lost on thespectators in the middle. " (NGA, 2) So one can read this diptych, it seems, as a kind of tract or atleast tribute for a growing cult of the Virgin in popular religion. Work of the earlier Medieval period tended to place moredistance between the mother and child, perhaps to stress the prominence ofthe son. Mary is not reported to be prominently present at Pentecost or theascension, yet here she takes center stage. In his portrayal by Judas he is perhaps the clearest (partly becausehis mother is absent), being central to the frame. Mary's importance grew along with increased attention to Christ's human life and suffering, and she came to be seen as the most potent mediator between man and God. However, he is inprofile, and awash in the activity around him. the drapery about them is used to accentuate the angles at which theyare caught, and an articulated body is visible below. It is also seen in her centralityin the last frames (the upmost row) portraying the ascension and Pentecost,in which she stands in the center of the frame surrounded by Jesus'disciples. In every frame in which he appears as morethan an accessory to his mother's presence, Jesus is somehow almost out offocus.
Common topics in this essay:
Gospels Biblically,
Gothic Renaissance,
Passion Diptych,
Renaissance Sucha,
Virgin Child,
Washington Virgin,
Christ-centered Mary-centered,
God NGA,
Iskold Gothic,
passion diptych,
life christ,
Museum Art,
master passion,
son focus,
transition gothic,
master passion diptych,
cult virgin,
|
Acceptance Essays
