The Virgin and Child Enthroned 1484

Editor: This is "The Virgin and Child Enthroned," created in 1484 by Sandro Botticelli, rendered in tempera. There is a quiet reverence to this scene. The landscape looks very arranged, like a stage-set. How do you read the politics embedded in Botticelli's presentation of the Virgin? Curator: Botticelli operated in a very specific Florence under Lorenzo de Medici. It is relevant to observe where this would have hung originally: presumably, not in a private home, but displayed publicly in some kind of civic building? The placement determined, to a degree, how Florentines experienced the symbolic and political meanings embedded within it. Consider how the carefully constructed, almost theatrical, background, idealizes nature to reflect a perfect social order blessed by the Church. Editor: The detail around them is really ornate; what about that open book, and the individuals standing at each side of the Virgin and Child? What story are these figures supposed to tell? Curator: The open book draws immediate parallels with literacy and therefore the dissemination of Christian scripture, but remember not everyone in the Early Renaissance could read. How might this influence people’s understanding of faith? The placement of John the Baptist on one side, and perhaps an Apostle on the other, does feel slightly staged. Do you perceive the Virgin looking directly to either of them? The placement of these religious figures is designed to encourage communal ideals, reminding those who came into contact with the painting about their roles in society, in church, and their overall spiritual path. Editor: The notion of stage-setting provides an interesting point of departure. Thinking about social structure and performativity offers something unique in observing this work. Thanks for sharing! Curator: Certainly! Exploring art's intersection with society reveals its enduring relevance.