Barnaba da Modena was an Italian artist. His life and destiny are rather unclear. The thing is that nobody knows for sure in what town he worked as an artist. Some experts admit that he worked in Modena. Others suggest that the town he worked in was Genoa (Gardner 6). Still, the majority of specialists highlight that specific art by Modena is the main thing to suppose that the artists worked in Siena, which influenced greatly his artistic manner. In that time, the fourteenth century, such a school of art as the Sienese one was highly popular. For example, one can observe elements in the works by Barnaba da Modena which resemble the works by such Sienese painters as Duccio, Simone Martini, Taddeo di Bartolo, and many others. Some people even argue that the majority of paintings that are ascribed to Barnaba da Modena are made by some of the artists mentioned above.
Anyway, the tradition of the Sienese painting school became a turning point in the artistic life of Barnaba da Modena. It should be pointed out that the Sienese painting school existed in the period between the thirteenth and fifteenth centuries. That is why it is obvious that the peak of its development was exactly the fourteenth century. The main approaches used by the painters of the Sienese school were close to Byzantine art. In many aspects, the representatives of the Sienese school of painting followed its principles. Of course, certain manners of presenting different scenes were not the only distinguishing feature of works by the Sienese painters, as well as Barnaba da Modena. We should not forget about the historical background of that period. The fourteenth century was the epoch of religious motives which were represented in every sphere of life. The same can be said about the development of the art of the fourteenth century, especially Italian art. Still, we should not forget that for many years there was a confrontation between two sides: Iconoclasmists and Iconvenerationists. If the representatives of the first group were against the depiction of Christ, God, Mother of God, and other saints, Iconvenerationists preferred to depict various holy events and saints, but not simple abstract things. For some time, principles imposed by Iconoclasmists were the leading ones. Moreover, the opposition between the two groups was rather stern: many works of art of that period were lost for the community. Nevertheless, after some time Iconvenerationists won the artistic battle and caused rapid development of icon painting, which, in its turn influenced other spheres of art in the future.
It goes without saying that traditions of Byzantine artists, topics which they revealed in their works were followed by the Italian painters. If one has a closer look at the Virgin and Child by Barnaba da Modena, it would become obvious that that painting bears resemblance to an icon. The painting was created by Barnaba da Modena in the 1360s. its size is 100 x 63 cm. Although the historical period was distinguished by the rise of humanistic ides, Renaissance, the painting is still, performed in the classical traditions of iconography (Killinger 64). First of all, the objects which are depicted in the work prove that the painting was not an example of the Renaissance motives and techniques. First of all, one can observe two figures on the painting who are classical in the aspect of iconography: the Virgin Mary and her child. Compared with the later work by Barnaba da Modena Madonna Della Misericordia, which depicts historical events, plague, and people who seek shelter under the cover of Mother of God, is rather social, while the Virgin and Child demonstrate religious message only. That is why it demonstrates the traditional iconographical principles. Such principles were called canons because they had to be strictly followed. The canons according to which the Virgin and Child include such aspects as the composition of the painting/icon, its subject, proportions of the figures, general mimicry of people represented on a picture type of saints’ appearance, their pose, colors used in a painting/icon, and technique of painting.
Speaking about proportions, it should be mentioned that natural human proportions were not observed in iconography. Taking into account the fact that Barnaba da Modena was not an iconographer but a painter one may admit that such technique was adopted from traditional canons of iconography. First of all, the figures of the painting as well, as figures of icons are usually skyward. The shoulders of the Virgin Mary are narrowed. The painter wanted to look at the Virgin Mary as well as she is depicted on icons. Another trait that speaks for the resemblance of Virgin and Child and icon is long and delicate fingers. Still, some experts admit that it was one of the most favorite approaches of Barnaba da Modena. Every part of the body except the face and child’s feet is hidden by the folds of clothes.
The appearance of the Virgin Mary and the child depicted in the painting by Barnaba da Modena speaks for the idea that the painter used principles of Byzantine iconography. For example, one may notice that the face of the Virgin Mary is long. Still, according to the iconographic canons, the nose should be small. In the painting by Barnaba da Modena, one may see that Mary’s nose is long but not small. The painter used his own technique, such as shooting out lips. Nevertheless, the Virgin Mary’s lips are small, which correspond to the canons of iconography. The most distinctive feature of icons represented in the painting of Barnaba da Modena is the looks of the Virgin Mary and her son. The painting gives an impression that they look not into the eyes of an observer, but through him/her. Of course, the main aim of such a look was the necessity to give the Virgin Mary and the child to give the impression of estrangement (Straten 110).
According to the canons of iconography, there should not be any voluminousness. In other words, there should not be any space. That is why iconographers used such material as tempera on the panel. Barnaba da Modena applied the same technique: there is no impression of volume: the picture is plane. The composition of the painting is also a classic example of iconography: the picture is a half-length portrait of the Virgin Mary with the child clung to her (Byzantine Iconography).
The most interesting in the painting is the usage of colors. It is not a secret that this aspect of iconography is highly symbolical: any color has its own meaning. For example, the golden color of the painting’s background symbolizes the Divine Light. Still, speaking about the color of cloths, it should be pointed out that the painter in some way neglected principles of iconography. According to the last, the Virgin Mary’s clothes should be blue, but not green. Barnaba da Modena made it green. The green color symbolizes youth in the canons of iconography. Christ’s clothes should be of blue and cherry blossom color but not yellow. Of course, all changes were implied by the painter according to his vision of the Virgin Mary’s and Christ’s images.
As has been mentioned above, the volume in iconography was an intolerable phenomenon. Its absence was reached with the help of tempera and evading of shading. Still, the only possible hint of the play of light was some lighted parts. The painter followed it: one can see that superciliary arches of the Virgin Mary and the child are lighted. Moreover, such elements of both faces as nose and cheeks are also lighted. Another example of light used to make the images more vivid is the Virgin Mary’s neck. Still, these are the only elements that are performed with a certain volume.
To make a conclusion it should be clarified that the Virgin and Child by Barnaba da Modena is an example of religious painting. Apart from the fact that the painter depicted a religious theme in the Virgin and Child, Barnaba da Modena used the basic techniques and principles which are used in iconography. Still, it is obvious that the painting is not purely canonic. Barnaba da Modena used some elements which are not usual for iconography. For example, the painter made the Virgin Mary and the child more volume. Nevertheless, such differences may be explained by the artistic principles of the painter, but not desire to make the painting secular art.
Works cited
Byzantine Iconography. s.n., 1972. Print.
Gardner, Edmund. The Painters of the School of Ferrara. Whitefish, Montana: Kessinger Publishing, 2004. Print.
Killinger, Charles. The history of Italy. Santa Barbara: Greenwood Publishing Group, 2002. Print.
Straten, Roelof. An introduction to iconography. London: Routledge, 1994. Print.