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Qantara - Enthroned Madonna and Child (Kahn Madonna)
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Qantara Qantara

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Kahn Madonna

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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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