Description

Holy gold tempera icon. Reproduction of art by Duccio di Buoninsegna (painting by Silvia Salvadori - Bottega d'Arte by Silvia Salvadori - Arezzo). Work performed with the ancient pictorial techniques of the Sienese school of the fourteenth century. Icon of the Madonna and Child (author's copy of the Madonna di Crevole by Duccio di Buoninsegna, Siena) painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school. Art reproduction of the Madonna di Crevole by Duccio di Buoninsegna. The table comes from the church of Santa Cecilia in Crevole; on the basis of a series of indications, it is believed that the table was made for the church of Montepescini and then passed to the Augustinian hermitage of Montespecchio. This youthful masterpiece by Duccio di Buoninsegna should be considered in comparison with the Madonna di Castelfiorentino di Cimabue. Given the strong iconographic affinity, it is very likely that the Madonne di Crevole and Castelfiorentino were performed in very close times, almost competing with each other. In fact, the first is the work of a Duccio di Buoninsegna very close to Cimabue, while the second shows us a sweetened Cimabue, following the engaging relationship, with the young Duccio di Buoninsegna. There is in the Madonna di Crevole, a perfection in design, composition and expression that make it an admirable masterpiece. The big eyes are busy watching the viewer intensely, inviting them to meditate on the tragic fate of their child. The execution is of such finesse that the thin parallel strands that modulate the chiaroscuro according to an artisan elaboration dating back to Cimabue are hardly seen. The pink fleshiness of the Child is enhanced by the very light garment that veils it and which, together with its small coat, obtains the results of a mobile and almost liquid transparency, of an unusual finesse. One of Cimabue's novelties with respect to the Byzantine pictorial tradition was the great executive care; but Duccio di Buoninsegna goes further, towards a refinement to which even the great Florentine painter had never arrived. In Duccio di Buoninsegna's work, everything is muted and internalized. A solemnity and an intense pathetic sweetness emanate from the arcane cloak, from the great eyes of Mary.