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Coronation of the Virgin Mary - Engerrand Cardboard. 1453-1454
The refined interpretation by Cardboard of the plot of the Coronation of the Virgin Mary as Queen of Heaven (1453-1454) follows medieval rules of symmetry: the Virgin Mary is between God the Father and God the Son (depicted exactly the same), putting the crown on her head - the Holy Spirit - in the form of a dove, hovering over angels; rows of heavenly witnesses - on each side. Although the main emphasis in the painting is on the blessing of the Virgin in Heaven, the small-scale scenes at the bottom of the picture (Crucifix, cityscape and scenes depicting purgatory and hell) place the Virgin Mary in the context of a large divine redemptive design. All details of the fresco were agreed upon by donor Jean de Montagnac, pictured as praying next to the crucifix.
Crowning of the Virgin Mary. This plot appeared in the painting of the late Middle Ages. The painting depicts the final scene of the cycle dedicated to the Virgin Mary. She is received in heaven by Christ, and he crowns her as Queen of Heaven. The episodes of the last days of the Virgin Mary on earth, including her mortal bed, grave and apostles, are usually depicted as everyday scenes of the Coronation. Virgin Mary often acts as a protector of the human race before God.