Exhibition Highlights

Picturing Mary offered insight into the manner in which both female and male artists conceptualized their images of Mary. The exhibition featured the work of four women artists: Sofonisba Anguissola, Artemisia Gentileschi, Orsola Maddalena Caccia and Elisabetta Sirani.

“Although women artists during the Renaissance and Baroque periods were expected to focus on still life or portraiture, Picturing Mary demonstrates the intriguing ways in which women artists engaged with the narratives and symbolism that developed around the subject of Mary,” said NMWA Director Susan Fisher Sterling. “Both female and male artists contributed to the rich and varied visualization of Mary in these periods.”

In one of the earliest works in the exhibition, Puccio Capanna, a student of Giotto, depicted an enthroned Mary as Queen of Virgins. She is surrounded by female saints, a grouping that alludes to Mary’s position as a model of virtue and faith for all women. Early regal depictions of Mary prevailed until the concept of Mary as an approachable, empathetic persona began to take hold in medieval monastic communities.

Fra Filippo Lippi’s Madonna and Child (1466–69) was made for the influential Medici family, patrons of the arts who helped foster the Italian Renaissance. The artist’s image of Mary reveals wealthy Florentines’ desire for a Madonna who reflected their own lives: the Virgin is dressed in a rich brocade gown and a head scarf trimmed with gold and pearls. The mother and child’s touching cheek-to-cheek pose first appeared in Florentine sculptures of the same period.

Picturing Mary offered the first opportunity to see two mid-15th-century works by northern Italian artist Cosmè Tura side by side. A painting of the Madonna and Child on loan from the National Gallery of Art in Washington, D.C., and a related terracotta relief attributed to Tura from the Grimaldi Fava Collection in Italy both depict the Virgin with elongated fingers and a wide forehand. These deliberate distortions were meant to signify Mary’s spiritual intensity.

Sandro Botticelli’s Madonna and Child (1480–81) depicts Mary and Jesus in a domestic setting as Mary reads from a book of prayers. Her melancholy expression and the darkening sky beyond the window suggest Mary’s premonition of Christ’s death. Botticelli was favored by the leading aristocratic families of Florence and enjoyed the patronage of Pope Sixtus IV.

Considered the most important woman artist before the modern period, Gentileschi was the first woman to run a large studio with many assistants and was also the first woman follower of Caravaggio. Her life story has inspired a number of contemporary novels and films. Gentileschi’s Madonna and Child (1609–10) depicts Mary as a nurturing peasant woman. With Jesus wrapped in a plain cloth and a barefooted Mary wearing simple, everyday clothes, Gentileschi presents a markedly humble conception of the Virgin.

Sirani’s Virgin and Child (1663), part of NMWA’s collection, portrays Mary not as a remote queen of heaven, but rather as a very real young Italian mother. She wears a turban favored by Bolognese peasant women and gazes adoringly at her plump baby. When Sirani died at 27, she had already produced two hundred paintings, drawings and etchings. She became famous for her ability to paint beautifully finished canvases so quickly that art lovers flocked to her studio to watch her work. Her portraits and mythological subjects, especially her images of the Holy Family and of the Virgin and Child, gained her international fame.