'Duccio Madonna and Child\r'

'This is the first time I do the museum paper, that’s do me have a lot of mixing feeling, question, excited, left handover… Then, I went to the net profit to make some look in inventionwork works at metropolitan Museum. Actually, I’m interested in moving picture for one causality is I love drawing. I made intimately eleven oil movies in my whole bread and butter. My life inspired me to put my emotion into the mental picture, sometime(prenominal) it was condemnable, sometime it was exciting.The value of all the painting is not bonny barely approximately the drawing skill, but excessively the complex meaning idea the artificer regard to put inside the painting and the personalisedity the workman want to present in this painting. I tried to figure out what is the best painting to keep open about. One Europe painting was be astonished me is the â€Å"bloody shame and Child”, by Duccio di Buoninsegna, acquired by the Metropolitan Muse um of Art for $45 million, the almost expensive purchase ever by the museum. I saw it on root and I was so curious and wondering why this painting cost so expensive.Then I decided to go to the museum to expand my knowledge about this painting for real. In 1963, when the â€Å"Mona Lisa” came to the Met for a month, much than than a million hatful stood in long lines; but when I went to relish at the Duccio, I was the only person in the room. To be sure, 13 and 14 century Italian paintings lack the popular of works by da Vinci or van Gogh, but I recover more people will be curious about something that cost so much more what the Met had spent on any previous acquisition. To find out this painting for real was so amazing!It’s beautiful, the colors were so unique, shinning and I keep wondering how it can be maintained till nowadays. I came home and felt so hunger to research about this painting. That painting made me surprised every(prenominal) seconds. The  "Madonna and minor” by Duccio was purchased in 2004, made in tempura and opulent on wood painting was made from 1295-1300. Remarkably, it has the original frame with a technique which would later become popular in renascence paintings. The little picture which it estimable measures eleven inches steep by just over eight inches large-minded has not attracted people that would make it difficult to see. provided for real, the painting has a powerful existence with the meaning deep inside. The Virgin holds the Christ child in her left arm and looks beyond him with sad tenderness, while deliveryman touching His mother’s veil, and the Virgin’s distant expression. Why Mary was so sad? Perhaps, the sadness in knowing that her only experience son will someday die for the sins of mankind. The contentedness about biblical was painted by Duccio in a very unique manner for his time. The artist rejected the flat expression of earthly and supernal beings that was the style of involved art.We argon at the scratch of what we think of as Western art; elements of the involved style still lingerâ€in the gold background, the Virgin’s boneless and elongated fingers, and the child’s unchildlike features †but the colors of their clothing are so miraculously maintained, and the sense of gentleman intercommunication is so convincing, that the two figures seem to exist in a real space, and in real time. However, The rigid line of Marys shoulder and her long nose out of Byzantine art. It testifies to a Jesus as a human child, capable of fancy, rebellion, and love.It alike testifies to a prematurely unconditional Jesus, able to sit up straight and to flip a regal blessing. Gold testifies further to the icons value, its function, and its thing matter. Imagine, in fact, the gold represent to a god. obligation a flair, the work signals at its closeness to the viewer, but besides its larger-than-life subject. In this way, it brings t he divine into the lives of its beholders. Duccio di Buoninsegna was born in Siena, Tuscany in about 1256. He was one of the most influential artists of his time along with that other bully master from Tuscany, Cimabue.He spent almost his entire operative life in Siena. Despite not having a great deal of information about his personal life, we do know that he fathered at to the lowest degree seven children and that he died in 1318 or 1319. Duccio achieves the comparable end in a different way: he creates not just an image, but also an object. Over time, images became more and more powerful. Artists used the fantasy of real life to break through walls. The more real art became, the more it became larger than life. It took Modernisms rediscovery of the art object to return painting to earth. Duccio anticipated the engender of the imaginary.That aim helps account for his impulse toward the decorative. It drives the unexpected statecraft of his image. He has a softer, more person al spew of color than one expects from a conservative icon, as in the robe on the infant Jesus. Duccios gang of the familiar, the divine, and the decorative extends to the image, too. When is the painting not just only the painting but also the signature of something else. The â€Å"Madonna and child” was the last known Duccio still in private hands inspired me so much. But I keep asking myself why just only the lack of people know about the real value of this painting?\r\n'