Madonna and Child in the context of "Notre-Dame de la Garde"

⭐ In the context of Notre-Dame de la Garde, the depiction of the Madonna and Child is considered…




⭐ Core Definition: Madonna and Child

In Christian art, a Madonna (Italian: [maˈdɔnna]) is a religious depiction of the Blessed Virgin Mary in a singular form or sometimes accompanied by the Child Jesus. These images are central icons for both the Roman Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.

The term Madonna in the sense of "picture or statue of the Virgin Mary" enters English usage in the 17th century, primarily in reference to works of the Italian Renaissance. In an Eastern Orthodox context, such images are typically known as Theotokos. "Madonna" may be generally used of representations of Mary, with or without the infant Jesus, where she is the focus and central figure of the image, possibly flanked or surrounded by angels or saints. Other types of Marian imagery that have a narrative context, depicting scenes from the Life of the Virgin, e.g. the Annunciation to Mary, are not typically called "Madonna".

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👉 Madonna and Child in the context of Notre-Dame de la Garde

Notre-Dame de la Garde (French: [nɔtʁ(ə) dam d(ə) la ɡaʁd]; Occitan: Nòstra Dòna de la Gàrdia, lit.'Our Lady of the Guard'), known to local citizens as la Bonne Mère (Occitan: la Bòna Maire, lit.'the Good Mother'), is a Catholic basilica in Marseille, France, and the city's best-known symbol. The site of a popular Assumption Day pilgrimage, it is the most visited site in Marseille. It was built on the foundations of an ancient fort at the highest natural point in the city, a 149 m (489 ft) limestone outcropping on the south side of the Old Port of Marseille.

Construction of the basilica began in 1853 and lasted for over 40 years. It was originally an enlargement of a medieval chapel but was transformed into a new structure at the request of Father Bernard, the chaplain. The plans were made and developed by the architect Henri-Jacques Espérandieu. It was consecrated while still unfinished on 5 June 1864. The basilica consists of a lower church or crypt in the Romanesque style, carved from the rock, and an upper church of Neo-Byzantine style decorated with mosaics. A square 41 m (135 ft) bell tower topped by a 12.5 m (41 ft) belfry supports a monumental 11.2 m (37 ft) statue of the Madonna and Child, made of copper gilded with gold leaf.

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Madonna and Child in the context of Madonna with the Long Neck

The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting began in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

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Madonna and Child in the context of Our Lady of Loreto

The Basilica della Santa Casa (English: Basilica of the Holy House) is a Marian shrine in Loreto, in the Marches, Italy. The basilica is known for enshrining the house in which the Blessed Virgin Mary is believed by some Catholics to have lived. Pious legends claim the same house was flown over by angelic beings from Nazareth to Tersatto (Trsat in Croatia), then to Recanati, before arriving at the current site.

The basilica is also known for enshrining the Madonna and Child image of "Our Lady of Loreto". Pope Benedict XV designated her under this title as patroness of air passengers and auspicious travel on 24 March 1920. Pope Pius XI granted a Canonical Coronation to the venerated image made of Cedar of Lebanon wood on 5 September 1922, replacing the original Marian image consumed in fire on 23 February 1921.

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Madonna and Child in the context of Nursing Madonna

The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconographic type of the Madonna and Child in which the Virgin Mary is shown breastfeeding the Child Jesus. In Italian, it is called the Madonna del Latte ("Madonna of Milk"). It was common in paintings until the change in atmosphere after the Council of Trent, when it was rather discouraged by the Catholic Church, at least in public contexts, on grounds of propriety.

The depiction is mentioned by Pope Gregory the Great, and a mosaic depiction probably of the 12th century is on the façade of Santa Maria in Trastevere in Rome, though few other examples date to before the Late Middle Ages. It survived in Eastern Orthodox icons (as Galaktotrophousa in Greek; Mlekopitatelnitsa in Russian), especially in Russia.

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Madonna and Child in the context of Wilton Diptych

The Wilton Diptych (made c. 1395–1399) is a small portable diptych of two hinged panels, painted on both sides, now in the National Gallery, London. It is an extremely rare survival of a late medieval religious panel painting from England. The diptych was painted for King Richard II of England, who is depicted kneeling before the Virgin and Child in what is known as a donor portrait. He is presented to them by (left to right) the English saints King Edmund the Martyr, King Edward the Confessor and patron saint, John the Baptist. The painting is an outstanding example of the International Gothic style, and the nationality of the unknown artist is probably French or English.

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Madonna and Child in the context of Italo-Byzantine

Italo-Byzantine is a style term in art history, mostly used for medieval paintings produced in Italy under heavy influence from Byzantine art. It initially covers religious paintings copying or imitating the standard Byzantine icon types, but painted by artists without a training in Byzantine techniques. These are versions of Byzantine icons, most of the Madonna and Child, but also of other subjects; essentially they introduced the relatively small portable painting with a frame to Western Europe. Very often they are on a gold ground. It was the dominant style in Italian painting until the end of the 13th century, when Cimabue and Giotto began to take Italian, or at least Florentine, painting into new territory. But the style continued until the 15th century and beyond in some areas and contexts.

Maniera greca ("Greek style/manner") was the Italian term used at the time, and by Vasari and others; it is one of the first post-classical European terms for style in art. Vasari was no admirer, defining the Renaissance as a rejection of "that clumsy Greek style" ("quella greca goffa maniera"); other Renaissance writers were similarly critical.

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Madonna and Child in the context of Our Lady of the Rocks

Our Lady of the Rocks is one of the two islets off the coast of Perast in the Bay of Kotor, Montenegro (the other being Sveti Đorđe Island). It is an artificial island created by bulwark of rocks and by sinking old and seized ships loaded with rocks. The Catholic Church of Our Lady of the Rocks (Serbo-Croatian: Госпа од Шкрпјела, Gospa od Škrpjela) is the largest building on the islet, and has a museum attached to it. There is also a small gift shop close to the church and a navigation light at the northern end of the islet.

According to legend, the islet was made over the centuries by local seamen who kept an ancient oath after finding the icon of Madonna and Child on the rock in the sea on 22 July 1452. Upon returning from each successful voyage, they laid a rock in the Bay. Over time, the islet gradually emerged from the sea. The custom of throwing rocks into the sea is alive even nowadays. Every year on the sunset of 22 July, an event called fašinada in the local dialect, when local residents take their boats and throw rocks into the sea, widening the surface of the island, takes place. The church was renovated in 1722.

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