Ugolino di nerio

 Now we are looking over the portrait of Madonna and Child enthroned by Ugolino di Nerio.  I’d like to describe what I see his byzantine about this work although we suspect that it is the early Sienese tradition,  as well as some acknowledging why we suspect that it’s from the scene is tradition that is what is CNEs about this painting. What is your knees about this paining for most is that it is painted on panel it is painted on a kind of tomb shaped panel over to old gold leaf the halos remain on the figures we see yards of bilateral symmetry symmetry going on  which is a holdover from the byzantine tradition as well you know there’s also a peer amid all composition which I don’t mean that when I came in to be visiting ABC News. It’s very illustrative the nature of the shows for most there’s a Madonna and there’s a child there moderately generic they’re not specific people which we can attribute to visit change edition  hieratic figure typical of the seniors tradition we do see flowing lines are slowing willow he figures in long gated hands elongated figures. Line dominates which is typical of the seniors tradition and as we mentioned it was it’s a western of quality.  Curing on from the byzantine tradition is the iconographic nature of the design this figure is to look not of this earth but other world and the green complexion of the skin is a CNA is stable and here we see clearly the green cast of the skin of these two figures there’s a monumental scale that feeling of scale that we get from the madonna  I just love this pain I think what comes like that you know very naturally arm is that Madonna looks straight out of that she’s really looking at us and the Christ child you can see is looking at her we really know where to look in this paining and there’s a rhythm to the feed in the hands it’s starting to break away from what kind of inventory of elements you know we do have five toes but then we have four toes you know anon Christ and we receive  and we see not all of the fingers and then one of the hands is gone it’s behind the clock madonnas time is hidden by Christ’s tail or his foot brother and some of her fingers are turning in space so they are obscured by for shortening the negative space in this paining is emphasized the figures fit into the shape of the picture plane in an elegant way and we can imagine him Daneri really being romantic about  this outline this this kind of puzzle piece and in that line of thinking also there are the local colors they’re established they don’t deviate and that’s byzantine it’s it’s really this is a blue robe and so the folder going to be light blue for the highlights and dark blue for the shadows looking for Sydney‘s troop and maybe I could say there’s one but I am it’s not extreme if there is