Madonna and Child Enthroned with Saints James Minor and Lucy

"Madonna and Child Enthroned with Saints James Minor and Lucy" is a painting attributed to Marco di Paolo Veneziano, an Italian painter active during the 14th century. The exact date of its creation is unknown, but it is believed to have been produced in the mid-14th century. The work exemplifies the Gothic style prevalent in Venetian art during this period, characterized by its use of vibrant colors and intricate details. The composition features the Virgin Mary and the Christ Child seated on a throne, flanked by Saints James Minor and Lucy, which reflects the hierarchical arrangement typical of religious iconography. The painting is notable for its decorative elements and the use of gold leaf, enhancing its spiritual significance. Marco di Paolo Veneziano is recognized for his contributions to the development of Venetian painting, and this work is an important example of his artistic output. The painting is currently housed in a museum collection, although the specific location may vary. Further details about its provenance and exhibition history are not widely documented.

"Madonna and Child Enthroned with Saints James Minor and Lucy" by Marco di Paolo Veneziano features the Virgin Mary seated on a throne, holding the Christ Child in her lap. The figures are depicted against a gold ground, which enhances the luminosity and sacred quality of the scene. Mary is adorned in rich robes, characterized by intricate patterns and vibrant colors, while the Christ Child is presented in a simple garment, emphasizing his divine nature. Saints James Minor and Lucy flank the throne, each depicted with distinct attributes that identify them. Saint James is often recognized by his pilgrim's staff, while Saint Lucy is associated with a lamp or eyes, symbolizing her connection to vision and light. The composition is structured and hierarchical, with the Madonna and Child occupying the central position, drawing the viewer's focus. The use of tempera on wood allows for fine details and a smooth finish, contributing to the overall clarity of the figures and their expressions. The painting exemplifies the Byzantine influence in its formal qualities and iconography, while also reflecting the early Renaissance style emerging in Venice.