Madonna and Child c. 1475

Editor: We're looking at "Madonna and Child," a marble sculpture created around 1475 by Antonio Rossellino. I'm immediately struck by the delicate way he's rendered the folds of Mary's clothing, it almost seems like it's about to slip off. How do you interpret this work from a formalist perspective? Curator: Indeed. We can approach Rossellino's "Madonna and Child" by focusing on the internal structure and compositional elements. Notice the pyramid shape - Mary's head forms the apex, and the base is the solid block she sits upon. How does that stable form speak to you? Editor: It gives a sense of serenity, and…permanence, maybe? Curator: Precisely. The marble itself lends to this idea, too. Now observe the interplay between the smooth, polished skin of the figures and the rougher texture of the drapery. Do you detect any symbolism in this contrast? Editor: I see that the skin contrasts so that your eyes move directly to it... It is drawing a clear distinction between flesh and fabric. Flesh and Spirit. Curator: An excellent observation. It accentuates their humanity and divinity. Consider also the lines. Mary's body creates these beautiful curves, framing and sheltering the child. Editor: Right, the curved lines versus the harder angles of the base make Mary feel soft, while the support makes me confident in Mary and Christ's staying power. Curator: Yes. The artist used geometric shapes and forms to create meaning and focus on composition. How important are those to your interpretation? Editor: It's surprising to think how much the forms, considered on their own, impact how the artwork is viewed. It helps clarify a work when removing other variables. Curator: Precisely. Form, structure, and materiality: these are key to our reading. A very astute interpretation, wouldn’t you agree?