DOI Heft:
Rozprawy
DOI Artikel:Łada, Justyna: Obraz Maryi z Dzieciątkiem Gentile da Fabriano jako przykład typu Madonny dell'Umiltà: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.37084#0217
OBRAZ MARYI Z DZIECIĄTKIEM GENTILE DA FABRIANO
213
presently at Pinacoteca Nazionale in Ferrara, the altar from Valle Roinita, a polyptych with
the scene of Coronation of Virgin Mary in its central part. However, the most prestigious order
came from Pal Strozzi in Florence. It was a painting of The Magi’s Acloration for Santa Tri n i ta
Church and one of Mary with Infant Jesus and the Saints.
The type'of paintings of Mary the Meek was already widely spread in the circle of Italian
art. Its source was the Gospel, especially according to St Lukę (Lukę 1, 38, 42), and the
commentaries on the Virgin Mary written by the Fathers of the Church. This current of Marian
piety was developed and Consolidated by St. Bernard who, referring to tradition, and especially
to St Augustine’s writings, madę the teaching about the importance of humilitas in human life,
about ChrisPs humility. morę profound. Imitation Mariae is a guarantee for the faithful of
making them closer to God through the Virgin Mary. A mystic trend of piety developed in the
Franciscan and Dominican orders and it contributed to consolidation of the sense of humilia-
tion in man’s life and, by the very fact, of piety at the close of the Middle Ages. The texts
and the style of prayer propagated in the circle of St. Clara of Assisi, St. Anthony of Padua,
St. Bernardino of Siena, St. Catherine of Siena, gave a broad basis for paintings of Mary the
Meek, sitting on the grass or on a smali stool.
The paintings, popular in the Italian circles, and also ip the north ones, becarne a new type
of picture that was taken from the dogmatic cycles illustrating the meaning of Salvation. The
scholar M. Meiss suggests that the connotation of the word hiunilitas with the earth or the
ground, suggested by Isidore of Seville and later developed by St. Bonaventure and Catherine
of Sienna, had a significant influence on formation of paintings of Mary the Meek. Simone
Martini’s composition painted for the Nolre Dame-des-Domes Cathedral in Avignon was one
of the earliest paintings of this type, madę popular in the context of funeral iconography
illustrating the Salve Regina hymn. Painters from Florence and Venice in the 14lh and at the
beginning of the 15th centuries played an important role in propagating this motif. Hortus
conclusus - closed gardens. fuli of flowers and herbs becarne Mary’s surrounding.
Translated by Tadeusz Karłowicz
Słowa kluczowe: Gentile da Fabriano, gotyk międzynarodowy, malarstwo
tjuattrocenta, ikonografia Maryi.
Key words: Gentile da Fabriano, international Gothic, ąuattrocento painting, Maryhs
iconography.
213
presently at Pinacoteca Nazionale in Ferrara, the altar from Valle Roinita, a polyptych with
the scene of Coronation of Virgin Mary in its central part. However, the most prestigious order
came from Pal Strozzi in Florence. It was a painting of The Magi’s Acloration for Santa Tri n i ta
Church and one of Mary with Infant Jesus and the Saints.
The type'of paintings of Mary the Meek was already widely spread in the circle of Italian
art. Its source was the Gospel, especially according to St Lukę (Lukę 1, 38, 42), and the
commentaries on the Virgin Mary written by the Fathers of the Church. This current of Marian
piety was developed and Consolidated by St. Bernard who, referring to tradition, and especially
to St Augustine’s writings, madę the teaching about the importance of humilitas in human life,
about ChrisPs humility. morę profound. Imitation Mariae is a guarantee for the faithful of
making them closer to God through the Virgin Mary. A mystic trend of piety developed in the
Franciscan and Dominican orders and it contributed to consolidation of the sense of humilia-
tion in man’s life and, by the very fact, of piety at the close of the Middle Ages. The texts
and the style of prayer propagated in the circle of St. Clara of Assisi, St. Anthony of Padua,
St. Bernardino of Siena, St. Catherine of Siena, gave a broad basis for paintings of Mary the
Meek, sitting on the grass or on a smali stool.
The paintings, popular in the Italian circles, and also ip the north ones, becarne a new type
of picture that was taken from the dogmatic cycles illustrating the meaning of Salvation. The
scholar M. Meiss suggests that the connotation of the word hiunilitas with the earth or the
ground, suggested by Isidore of Seville and later developed by St. Bonaventure and Catherine
of Sienna, had a significant influence on formation of paintings of Mary the Meek. Simone
Martini’s composition painted for the Nolre Dame-des-Domes Cathedral in Avignon was one
of the earliest paintings of this type, madę popular in the context of funeral iconography
illustrating the Salve Regina hymn. Painters from Florence and Venice in the 14lh and at the
beginning of the 15th centuries played an important role in propagating this motif. Hortus
conclusus - closed gardens. fuli of flowers and herbs becarne Mary’s surrounding.
Translated by Tadeusz Karłowicz
Słowa kluczowe: Gentile da Fabriano, gotyk międzynarodowy, malarstwo
tjuattrocenta, ikonografia Maryi.
Key words: Gentile da Fabriano, international Gothic, ąuattrocento painting, Maryhs
iconography.