Chimabue's Enthroned Madonna And Child

True to it's common characteristics, Chimabue's "Enthroned Madonna and Child" stays loyal to the style of Italo-Byzantine art. Giotto's "Ognissanti Madonna" however, in some key areas, strays away from the conventional techniques of the style.

Chimabue's approach to composition in the artwork "Enthroned Madonna and Child" was extremely confirmative to the time period. He made use of the medieval heiracy of scale, making Mary and baby Jesus much larger than other figures, therefore making them the focal point of the painting. This was to emphasize their importance. They are also placed centrally on the painting, again to direct the eye towards them and to show their importance as the subject of the painting. The layout is very symmetrical, with even amounts of figures (the angels) on each side, all facing towards Mary and child. These angels are "stacked" which looks unrealistic and doesn't achieve convincing depth. Underneath, there are 4 saints, also symmetrically placed; one saint under the left and right column, and two in the middle. In the throne, there is an
This is due to his techniques in creating realistic tones and folds to show body form. The drapery on the figures are much more simplistic and therefore more realistic. He has made good use of tone and shadowing in places like under Mary's neck, which add to the believability of the figure. Although the faces are still rather unrealistic, there is a greater variation and individuality amongst the figures. Mary's body is a lot stronger looking, and therefore feels capable of being a protector. Her eyes are far more expressive than in other Italo-Byzantine artworks, which makes her seem far more inviting. Both of these things lead to her seeming more mother-like and approachable. Christ is less adult looking, he is a lot chubbier and appears more like a toddler, which is far more