Cambrai Madonna

Artist biography

Foppa was a painter of the Renaissance in Northern Italy. Born in Bagnolo Mella, Brescia, in the Republic of Venice, he moved to Pavia about 1456, the assistance of Prince Milan and became one of the large-scale creative individuals in Lombardy, and finally, back to Brescia in 1489. His method shows similarities with Andrea del Castagno (1421 - 1457), and Carlo Crivelli (1435-1495).

Giorgio Vasari (1511 - 1574) argued, Foppa was founded in Padua, where he may have been heavily borrowed by Andrea Mantegna (1431 - 1506), which was innovative in terms of the artist. During his life, Foppa has been defined in particular for his ability to the point of view, and author. His important works of art Pinacoteca di Brera in Milan, The Martyrdom of St. Sebastian, and The Crucifixion (1435) in the Carrara Academy in Bergamo. Some of his works were lost. He used the methods Civerchio Vincenzo (1470 - 1544) and Girolamo Romanino (1484-1562).

His work is now in the Uffizi Gallery, the Madonna and Child with Angel, who is said to reveal the artist's complex personality heritage "(Kren and Marx, Web Gallery of Art). It displays the arms of Northern European painting, in particular, Flemish, in addition to their Italian traditions.



2. Painting

Art historians regard the likeness of Our Lady of the congregation thought to ordinary women, as well as pious dogma surrounding the Incarnation of Christ. Photos contemplate the socio-economic components of their source of communal norms and move womanhood.1 Henry Kraus argues that the similarity of Mary is developing with the change of municipal grade ordinary women and society in the direction of thinking of them. State Greve, during the Northern Renaissance, the paintings marked a true woman of rank and function in the human race, but the projected ideals of feminine mannerisms common to humanity, that control is not a rendezvous of reality. medieval period, typically women were depicted as inherently bad, sin-stained legacy of Eve and unable to meet the glory of the Virgin Mary.



3. Theme

The cult of the Virgin Mary had joined the majority of medievalists in the twelfth and following centuries. This book, however, offers a broad study of religion in England from c. 700 to the conquest. Interest and dedication to Mary flourished for centuries the bottom of the seventh and eighth, and especially during the reform of the Benedictine from mid-tenth century. In the last period of Mary as the patron saint of almost all the houses to reform, was the most important saint of the monastic movement. Dr. Clayton describes and illustrates the development of Marian devotion and doctrine of the early Church, Carolingian, with a discussion of Anglo-Saxon feasts of the Virgin, liturgical texts, prayers, dedications, monastic art and folk poetry and prose. This question has never been studied in detail, but has a significant impact on the history of the liturgy of the Church and the Anglo-Saxon. The book will appeal to the Anglo-Saxonists with a special interest in art literature history and ...