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Enthroned Madonna and Child (Kahn Madonna)
Icon of the Theotokos Hodegetria
- Title/name : Enthroned Madonna and Child (Kahn Madonna)
- Production place : Italy
- Date / period : Thirteenth century
- Materials and techniques : Tempera on wood
- Dimensions : H. 131.1 cm; W. 76.8 cm
- Conservation town : Washington
- Conservation place : National Gallery of Art
- Inventory number : Otto H. Kahn 1949.7.1
This icon is known as the Kahn Madonna from the name of the previous owner. It is an
example of the fusion of iconographic elements from both the Byzantine world and
the West. The panel, quite wide, represents a full-length Theotokos (Mother of
God) enthroned as Queen of Heaven. She holds Christ on her left arm; Christ is
represented as a miniature adult, in accordance with medieval convention. Two
archangels appear in two medallions flanking the Virgin’s head. Both of them
hold sceptres and orbs, emphasising the imperial role of the Theotokos. This is
a Theotokos Hodegetria – she who
guides. The name alludes to a famous Byzantine icon kept in the Ton Hodigon monastery
in Constantinople. She is looking at Christ.
It remains difficult to establish
the precise origin of this work. It was initially thought to come from a Constantinople
workshop, then thought to come from other centres, such as Cyprus and Thessaloniki.
In the end, this “holy image” was
probably painted by a Greek artist working in Italy. The workshop of origin is
still unknown and the attribution to an Italian centre is still open to debate.
During the thirteenth century, Western Catholic art and Eastern Orthodox art influenced
each other and resulted in a characteristic style.
This work seems to illustrate this cultural
fusion perfectly. There are several similarities in terms of style and theme
between this painting and Byzantine icons painted in the East. The graceful movement
of the figures, the golden striations on the drapery, known as chrysography,
simulating a shimmering light and the flowing, rhythmic lines are signs that
the artist was a Greek painter. There are strong parallels between the fine
face of the Virgin and the angels in paintings produced in Constantinople, Mount
Athos and Ohrid, suggesting the Palaeologi era (1259–1453) as a date.
Each angel holds the Byzantine
imperial attributes; there are exact parallels in paintings in Serbia. The
folds at the shoulders of the Virgin’s cloak are reminiscent of those of
various mosaics or frescos from the Palaeologi period. Italian characteristics
include the tooled decoration of the haloes, the perspective of the wooden
throne with its high back, and the gradations of light and shade.
This icon is frequently compared to
the Mellon icon, whose iconography and details are similar, but the throne with
the circular back is more markedly Byzantine. Both icons may have come from the
same workshop but may have been executed by two different painters.
BIBLIOGRAPHY RELATED TO THE ITEM
Folda, J., “The Kahn and Mellon Madonnas: Icon
or Altarpiece?” in Byzantine East, Latin West: Art-Historical Studies in Honor of Kurt
Weitzmann, Princeton, 1995, Princeton
University.
REFERENCE BIBLIOGRAPHY
Corrie, R. W., “Madonna and Child on a Curved
Throne” in Byzantium: Faith and Power (1261–1557), Exh. cat., New York, New Haven, London, 2004, Yale University
Press.
Folda, J., Icon
to Altarpiece in the Frankish East: Images of the Virgin and Child Enthroned in
Italian Panel Painting of the Duecento and Trecento, Washington, 2002.
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