Madonna and Child with Saint John, Filippo da Verona

Artwork Overview

Madonna and Child with Saint John, Filippo da Verona
Madonna and Child with Saint John, Filippo da Verona
Filippo da Verona
Madonna and Child with Saint John
early 1500s
Madonna and Child with Saint John, early 1500s
Where object was made: Northern Italy
Material/technique: oil; panel
Dimensions:
Canvas/Support (Height x Width x Depth): 66.4 x 51.1 cm
Canvas/Support (Height x Width x Depth): 26 1/8 x 20 1/8 in
Frame Dimensions (Height x Width x Depth): 92.71 x 76.84 x 13.97 cm
Weight (Weight): 53 lbs
Credit line: Gift from the Samuel H. Kress Study Collection
Accession number: 1960.0050
Not on display
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Label texts

Inventing Childhood

Few mother-child pairs have assumed such prominent roles in Western cultural and religious narratives as Mary and Jesus. There is perhaps no image more dominant in Christian art than that of a young Mary holding her infant son, frequently depicted with angels or, in the example by da Verona, with a worshipping saint. Other artists focused on the end of Jesus’ life, creating sculptures that show an aged and sorrowful Mary holding the body of her son after his crucifixion, such as the wood sculpture behind you and to your right. Although frequently known by the Italian name Pietà (pity), these sculptures have a longer history in Germany, where they are called Vesperbild.
When paired, the iconography in the Madonna and Child and Pietà motifs reinforces the Christian narrative: the loving mother joyfully holding her happy infant will grieve and hold his lifeless body after his crucifixion.

Inventing Childhood

Few mother-child pairs have assumed such prominent roles in Western cultural and religious narratives as Mary and Jesus. There is perhaps no image more dominant in Christian art than that of a young Mary holding her infant son, frequently depicted with angels or, in the example by da Verona, with a worshipping saint. Other artists focused on the end of Jesus’ life, creating sculptures that show an aged and sorrowful Mary holding the body of her son after his crucifixion, such as the wood sculpture behind you and to your right. Although frequently known by the Italian name Pietà (pity), these sculptures have a longer history in Germany, where they are called Vesperbild.
When paired, the iconography in the Madonna and Child and Pietà motifs reinforces the Christian narrative: the loving mother joyfully holding her happy infant will grieve and hold his lifeless body after his crucifixion.

Exhibitions

Corpus - Project Redefine: Phase 2
Kris Ercums, curator
2012–2015
The Samuel H. Kress Study Collection
1960
Inventing Childhood
Cassandra Mesick Braun, curator
2016–2017
Renaissance Art in Museum Collections
Edward A. Maser, curator
1960