Fra Filippo Lippi, Madonna and Child with two Angels

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Fra Filippo Lippi, Madonna and Child with two Angels발음듣기

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(upbeat piano music) Dr. Harris: We're in the Uffizi looking at Fra Filippo Lippi's, Madonna and Child With Angels, It's so fun to see this painting after coming from the first room in the Uffizi, which has three giant paintings covered in gold from the 1300s, of the Madonna and Child.발음듣기

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Dr. Zucker: Those are so solemn and so steeped in medieval tradition and this is so playful.발음듣기

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Dr. Harris: 15th century, here we have a Madonna and Child that's really humanist in it's approach.발음듣기

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Dr. Zucker: It's interesting, because the other paintings really are very somber, but there is a somber note here too, in Mary's foreknowledge of the fate of her son.발음듣기

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Nevertheless, the rest of the painting feels very playful and even her youth and beauty really carry the day.발음듣기

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Dr. Harris: Well, and gone are those byzantine elongations of the face and the hands.발음듣기

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She looks like a real woman, who you might see on the streets of Florence.발음듣기

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A very beautiful woman, but a real woman nonetheless.발음듣기

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Not only that, but the angels look like children that you might see playing on the streets of Florence.발음듣기

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It always has seemed to be as though Lippi, when he wanted a model for the angels, went out and found a couple of kids playing in the street and brought them into his studio and made them pose.발음듣기

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Look at that "angel" in the foreground, who supports the Christ child and turns around and looks up at us with a really playful smile.발음듣기

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Dr. Zucker: It's almost mischievous.발음듣기

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Lippi is actually being incredibly mischievous himself.발음듣기

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When we look at the other angel, it's only the lower half of his face peeking out below Christ's arm.발음듣기

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It's sort of ridiculous.발음듣기

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I mean, you would never have an artist, during the medieval period, do something like that.발음듣기

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Dr. Harris: Look what's happened to Mary's halo.발음듣기

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Here we are, we're moving toward the high renaissance, where we'll have the complete disappearance of the halo with Leonardo da Vinci, but here with Fra Filippo Lippi, the halo is becoming just a simple circle that we can just barely make out, above Mary's face and also around Christ.발음듣기

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Those obvious symbols of divinity, of holiness I think, felt very much out of place for Fra Filippo Lippi.발음듣기

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He wanted to create an image of the Madonna and Child With Angels, that looked very earthly and very natural and very real.발음듣기

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Dr. Zucker: The frame on this window almost becomes the frame of the painting itself.발음듣기

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It seems to me that there's this self-conscious aligning of the frame of the painting and the frame of the window.발음듣기

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There's the concede that the landscape is seen through a window, but I think that he's suggesting that the frame of the canvas is a frame that we look into, as if we look into the window as well.발음듣기

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Dr. Harris: That landscape behind her,발음듣기

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rendered with atmospheric perspective, also looks very real.발음듣기

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I think back to the Cimabue or the Douche, with that flat gold background, the gold of a heavenly space.발음듣기

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Here, Mary very much represented as a figure who we can relate to here on earth.발음듣기

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My favorite passage in the painting is actually the translucent fabric that she wears in her hair and the amazing lines and curves as that winds down around her neck and comes down in front of her.발음듣기

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Even the curls that we see in Christ's hair, there's this love of beautiful curling shapes.발음듣기

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We know that Fra Filippo Lippi was the teacher of Botticelli.발음듣기

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When I look at that, I can see that.발음듣기

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Dr. Zucker: That emphasis on the decorative.발음듣기

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Dr. Harris: And on beautiful sensuous lines.발음듣기

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There's a kind of sensuality here that I think is hard to deny.발음듣기

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Clearly, yes, the Madonna and child with the angels, but a real love of the beauty of the things that we can see with out eyes. (upbeat piano music)발음듣기

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