VISUAL THEOLOGY


Madonna and Child, ca. 1300, Duccio di Buoninsegna (Italian, Sienese, active ca. 1278–d. 1318), Tempera and gold on wood, with original engaged frame. Overall, with frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm), Metropolitan Museum of Art (New York) This exquisite picture defines a transforming moment in Western art. Departing from the Byzantine notion of painting as a symbolic image of a divine being, Duccio, the founder of Sienese painting, endowed his figures with a new humanity, exploring the psychological relationship between Mother and Child. Unquestionably, the master had looked closely at the work of his younger contemporary Giotto. The parapet, a pictorial device that relates the fictive space of the picture to the real space of the viewer, will become a common feature of Renaissance painting; here, it is a novelty. Few of Duccio's paintings survive: this panel was the last known work in a private collection and its acquisition transforms the Museum's presentation of the history of European painting. The damage along the bottom of the original frame is from candles lit before the picture, which was used for private devotion

Y entonces uno se queda con la Iglesia, que me ofrece lo único que debe ofrecerme la Iglesia: el conocimiento de que ya estamos salvados –porque esa es la primera misión de la Iglesia, el anunciar la salvación gracias a Jesucristo- y el camino para alcanzar la alegría, pero sin exclusividades de buen pastor, a través de esa maravilla que es la confesión y los sacramentos. La Iglesia, sin partecitas.

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