The Ognissanti Madonna is roughly contemporary with the Arena frescoes and is Giotto's only attributable panel painting. It shows the influence of the earlier Florentine painter Giovanni Cimabue in composition and style, but is unique in its humanization of the Virgin's face.

перемещение:
церковь Оньиссанти (1320 - )
Onissanti church

гал. Уффици

Galleria degli Uffizi

композиция:
БР и Младенец восседают на мраморном готическом троне. Боковые стороны трона, а также его сиденье и ступени даны в ракурсе. Свето-теневая моделировка подчёркивает объёмность и округлости Её тела, проступающие из-под одеяния (груди, колени).
Окружающие трон ангелы и святые занимают реальное пространство.
По бокам от трона стоят 2 ангела с короной - атрибутом Царицы Небесной, и дароносицей с евхаристическим хлебом, что призвано напомнить о Страстях Господних.
На переднем плане 2 коленопреклонённых ангела держат сосуды с лилией, белыми и красными розами, символизирующими соответственно чистоту, непорочность и милость БР.

The subject is the same as that of Duccio's Ruccelai Madonna {1403} and Cimabue's Santa Trinita Madonna {3515}: the Virgin and Child enthroned among angels and saints, facing the spectator, and the Child raising His hand in a gesture of benediction.

However, much had changed in the few years separating this work from the others.
The sad, remote, inscrutable Virgin of the 13th century has been transformed here into a very human woman who gazes serenely outward, her lips parted in a hint of a smile that reveals the white of her teeth.
The earthly weight of her body is set off by the delicacy of the Gothic throne.
Compared with similar works by the great painters of the late 13th century, this image of the Madonna seems to have been greatly simplified, though by no means impoverished.
The cloth of the Virgin's gown and mantle is of the finest quality.
The chromatic richness of the throne makes it both sumptuous and more convincing than the elaborate thrones of the 13th century paintings.

The Virgin appears calm, but at the same time triumphant, and in an extremely natural pose, as can be seen by her right hand, with which she caresses the knee of the Child, who has his hand raised in benediction, already aware of his future mission, as can be seen by his expression. The angels standing at their feet in front of the steps establish a "perspective hierarchy" with respect to the other figures behind and, although being in the same pose, holding the same vase of flowers, and being dressed in the same way, they break with the symmetry of the Byzantine style, because the one on the left has his mouth open, almost as if to praise Mary. The two standing immediately behind, in green tunics, carry one a crown and the other a casket, as gifts.

Cimabue's "Santa Trinita Madonna" is different in that it again shows, in part, the influence of Byzantine art, in the way in which the Virgin holds the Child, and because the throne she sits on is positioned exactly in the centre of two rows of angels. It also differs in its attempt at greater characterization and psychological insight into the characters, especially in the four prophets at the bottom of the picture.

The "Rucellai Madonna" by Duccio di Boninsegna is notably embellished with details in gold, typical of the Sienese style, especially on the seat and in the clothes, and the angels appear to be suspended in a mystical aura.

The groups of angels on each side of the throne occupy real space, and would seem to be the elegant retainers of a royal court.