Madonna and Child with Angels or Madonna and Child Surrounded by Angels is an oil-on-panel triptych painting by Quentin Matsys, executed c. 1509, now in the Museum of Fine Arts of Lyon. The work, which was originally intended for private devotion, seems to echo the art of Jan van Eyck. The Museum of Fine Arts of Lyon acquired it in 1859.
The painting shows the Virgin Mary with long hair, standing under an arch with solid columns of onyx and crystal. She is richly dressed, with her head slightly lowered towards the Baby Jesus that she carries against her, wrapped in a linen which merges with the embroidered white dress of her mother. Two putti frame the scene in the upper part, one seated on the left capital, the other on the right one. Three angels dressed in red are on the ground behind the Virgin, one playing a lute, and another holding up a red carnation. Visible in the background on the left, next to a small patch of blue sky and a few trees, is a very small section of a church whose elements identify it with the old St. Peter's Church, Leuven.
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In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the 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.
Pinturicchio, or Pintoricchio, also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.
Taddeo di Bartolo, also known as Taddeo Bartoli, was an Italian painter of the Sienese School during the early Renaissance. He is among the artists profiled in Vasari's biographies of artists or Vite. Vasari claims he is the uncle of Domenico di Bartolo.
Sano di Pietro or Ansano di Pietro di Mencio (1405–1481) was an Italian painter of the Sienese school of painting. He was active for about half a century during the Quattrocento period, and his contemporaries included Giovanni di Paolo and Sassetta.
Neri di Bicci (1419–1491) was an Italian painter active in his native Florence. A prolific painter of mainly religious themes, he studied under his father, Bicci di Lorenzo, who had in turn studied under his father, Lorenzo di Bicci. The three thus formed a lineage of great painters that began with Neri's grandfather.
Lorenzo di Bicci was an Italian painter of the Florentine School considered to be one of the most important painters in Florence during the second half of the 14th century. He is believed to have learned his trade from his father, about whom little is known. Lorenzo’s style, as well as that of his contemporaries Jacopo di Cione and Niccolò di Pietro Gerini, was influenced by the artist Andrea di Cione. Lorenzo's paintings made use of bright colors and his compositions avoided complexity. The figures he painted tended to have round faces and were often expressionless. Another one of Lorenzo's distinctive characteristics was his precision of execution. He was known for exceptional talent in drawing, an ability that he put to use at the initial stages of his painting. Unlike many celebrated Florentine artists of this period, Lorenzo mostly received commissions from the country clergy and from the lower-middle class Florentine guilds. His successors, Bicci di Lorenzo and Neri di Bicci, continued to serve these groups.
Biagio d’Antonio Tucci was an Italian Renaissance painter active in Florence, Faenza and Rome.
The Museum of Fine Arts of Lyon is a municipal museum of fine arts in the French city of Lyon. Located near the Place des Terreaux, it is housed in a former Benedictine convent which was active during the 17th and 18th centuries. It was restored between 1988 and 1998, remaining open to visitors throughout this time despite the restoration works. Its collections range from ancient Egyptian antiquities to the Modern art period, making the museum one of the most important in Europe. It also hosts important exhibitions of art, for example the exhibitions of works by Georges Braque and Henri Laurens in the second half of 2005, and another on the work of Théodore Géricault from April to July 2006. It is one of the largest art museums in France.
The Small Cowper Madonna is a painting by the Italian High Renaissance artist Raphael, depicting Mary and Child, in a typical Italian countryside. It has been dated to around 1504–1505, the middle of the High Renaissance.
The Madonna and Child with an Angel is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1465–1467. It is housed in Spedale degli Innocenti of Florence.
Saint Luke Drawing the Virgin is a large oil and tempera on oak panel painting, usually dated between 1435 and 1440, attributed to the Early Netherlandish painter Rogier van der Weyden. Housed in the Museum of Fine Arts, Boston, it shows Luke the Evangelist, patron saint of artists, sketching the Virgin Mary as she nurses the Child Jesus. The figures are positioned in a bourgeois interior which leads out towards a courtyard, river, town and landscape. The enclosed garden, illusionistic carvings of Adam and Eve on the arms of Mary's throne, and attributes of St Luke are amongst the painting's many iconographic symbols.
Virgin and Child with Four Angels is a small oil-on-panel painting by the Early Netherlandish artist Gerard David. Likely completed between 1510 and 1515, it shows the Virgin Mary holding the child Jesus, while she is crowned Queen of Heaven by two angels above her, accompanied by music provided by another two angels placed at either side of her. In its fine detail and lush use of colour the work is typical of both David and late period Flemish art.
The Madonna at the Fountain is a 1439 oil on panel painting by the early Netherlandish artist Jan van Eyck. It belongs to van Eyck's late work, and is his last signed and dated painting. It retains its original frame, which bears the inscription; "ALS IXH CAN", "JOHES DE EYCK ME FECIT + [COM]PLEVIT ANNO 1439
Madonna in the Church is a small oil panel by the early Netherlandish painter Jan van Eyck. Probably executed between c. 1438–1440, it depicts the Virgin Mary holding the Child Jesus in a Gothic cathedral. Mary is presented as Queen of Heaven wearing a jewel-studded crown, cradling a playful child Christ who gazes at her and grips the neckline of her red dress in a manner that recalls the 13th-century Byzantine tradition of the Eleusa icon. Tracery in the arch at the rear of the nave contains wooden carvings depicting episodes from Mary's life, while a faux bois sculpture in a niche shows her holding the child in a similar pose. Erwin Panofsky sees the painting composed as if the main figures in the panel are intended to be the sculptures come to life. In a doorway to the right, two angels sing psalms from a hymn book. Like other Byzantine depictions of the Madonna, van Eyck depicts a monumental Mary, unrealistically large compared to her surroundings. The panel contains closely observed beams of light flooding through the cathedral's windows. It illuminates the interior before culminating in two pools on the floor. The light has symbolic significance, alluding simultaneously to Mary's virginal purity and God's ethereal presence.
The Virgin and Child Enthroned is a small oil-on-oak panel painting dated c. 1433, usually attributed to the Early Netherlandish artist Rogier van der Weyden. It is closely related to his Madonna Standing, completed during the same period. The panel is filled with Christian iconography, including representations of prophets, the Annunciation, Christ's infancy and resurrection, and Mary's Coronation. It is generally accepted as the earliest extant work by van der Weyden, one of three works attributed to him of the Virgin and Child enclosed in a niche on an exterior wall of a Gothic church. The panel is housed in the Museo Thyssen-Bornemisza in Madrid.
The Circumcision of Christ is a painting in oils on canvas executed in 1646 by the Italian artist Guercino. It depicts the Circumcision of Christ, and it was painted as the high altarpiece for a church in Bologna. It was originally surmounted by a semi-oval showing God the Father and the Holy Spirit; this is now in the Pinacoteca Nazionale di Bologna. Three pen and brown ink studies for the work survive, two in the Royal Collection and one in the Pinacoteca di Brera. There are also two drawings of the Virgin's clothing. The painting is now held in the Musée des Beaux-Arts de Lyon, where it has been since 1811.
The Line of Saint Anne is a c.1500 oil on panel painting by Gerard David, now in the Museum of Fine Arts of Lyon, which acquired it in 1896. It shows the ancestors of Saint Anne, mother of the Virgin Mary, along the lines of a Tree of Jesse.
Portrait of Marguerite Gauthier-Lathuille or Young Woman in White is a c.1878 half-length oil on canvas portrait by Édouard Manet, now in the Musée des Beaux-Arts de Lyon, which acquired it in 1902. She never posed for the final work, which was instead based on sketches made by the artist. The painting was intended as a present for her father.
Madonna and Child with Saints is a c. 1545-1546 oil on canvas painting by Tintoretto, now in the Musée des Beaux-Arts de Lyon.
Portrait of a Saxon Noblewoman is an oil on canvas painting by Lucas Cranach the Elder. It has been in the Musée des Beaux-Arts de Lyon since 1892.
