Madonna and Child Enthroned, with Saints and Angels after 1358

Editor: This is Lippo Vanni's "Madonna and Child Enthroned, with Saints and Angels," made sometime after 1358 with tempera and oil paint. There's something so rigid about the composition; the figures seem deliberately placed, but how does this all come together aesthetically? What do you see in this piece from a formalist perspective? Curator: Precisely, observe the verticality established by the figures. It's not merely representational; it creates a visual rhythm. Notice how Vanni uses gold leaf. Not just for halos, but as an organizing principle to divide and unite the pictorial space. Consider also the flatness of the figures; their volume is suggested through layering rather than true perspective. This is about surface, the play of light, and the structural integrity of the plane. Editor: I see it now, the vertical composition and deliberate arrangement create a balance, even though the figures aren’t symmetrical. The flatness you pointed out is quite interesting given later Renaissance artists' commitment to perspectival accuracy. Does this flatness also inform how we should perceive depth or dimensionality within this painting? Curator: Indeed, depth here is achieved not through linear perspective but through a symbolic hierarchy of scale and the tactile quality of materials. Consider the interplay between matte tempera and reflective gold leaf – a formal device that directs the gaze. It’s a conscious manipulation of artistic elements towards a constructed visual experience. The painting functions through its formal language. Editor: So, by analyzing elements like the composition, use of gold leaf, and flatness, we gain insight into the painting's construction and its intended effect. Thanks, I'm really understanding Vanni’s formal choices now! Curator: I agree, analyzing the arrangement brings a more comprehensive understanding.