madonna in trono col bambino e angeli 1362

Editor: This altarpiece, titled "Madonna in Throne with Child and Angels," was painted by Luca di Tommè around 1362 using tempera on panel. The composition is fascinating – a central panel depicting the Madonna and Child flanked by saints and angels. There's a clear hierarchy, and I'm struck by the heavy use of gold. What elements of its construction stand out to you? Curator: The striking use of gold is indeed crucial. Notice how it isn't merely decorative but rather structural. It flattens the space, emphasizing the symbolic over the representational. Consider the lines created by the drapery; they delineate form yet simultaneously deny volume, pointing to a conscious manipulation of visual cues. Editor: I see what you mean. The folds in Mary’s robe are indicated, but don’t create a sense of depth. So the linear quality is deliberate? Curator: Precisely. Line serves as both a defining element and a means of abstraction. Also, reflect upon the architectural framework of the altarpiece itself. How does its multi-paneled structure contribute to the overall reading of the work? Editor: It separates and elevates each figure but brings them together in one composition, like a collection of sacred images. I hadn't thought of it that way before. Curator: This structure contributes significantly to the iconographic meaning. We should focus not on anecdotal details but on the way the structural devices operate as signs within the overall artistic syntax. Editor: That's a great point, seeing how the structure is part of its meaning and function. It certainly invites a deeper appreciation of the artist’s intentions and the artwork’s purpose. Thanks! Curator: It is in analyzing those intentions, that our true learning occurs.