Madonna circa 1300

Madonna
Cologne area
Around 1300
Carved lime wood
Height 84 cm

This Madonna, carved around 1300 in the Cologne area, is a remarkable testimony to Gothic sculpting and craftsmanship. The sculpture consists of five individual parts that were joined together with dowels and thus offers a fascinating insight into the working process of a Gothic sculptor. It was long disputed in art history whether or not wooden sculptures from the Middle Ages could consist of assembled pieces. This sculpture is impressive proof of this. The filigree carving and Gothic elegance of this devotional piece is emphasized by the transparency of the wood.

Mary and child in focus

The depiction is standing, with the infant Jesus in her arms. She wears a floor-length, flowing dress under a voluminous cape, which is fastened at the chest with a brooch. Her high crown, decorated with elaborate carvings, symbolizes her status as Queen of Heaven. The clothed baby Jesus is sitting on her left arm and facing Mary. Its right arm is raised, palm up, as if it is talking to her. In his other hand he holds a scroll, an allusion to the Holy Scriptures and divine wisdom.

Mary’s pose reinforces this interaction; her right hand is slightly raised, indicating that she is reaching for her son. The intimate relationship between mother and child is wonderfully conveyed through their physical closeness and the dynamics of the conversation, emphasizing the tender and loving bond between them. The lively gestures of the boy and the gentle demeanor of his mother create a dialogue of deep spiritual meaning.

Mary’s face embodies the Gothic ideal of beauty. Her high forehead, typical almond-shaped eyes with pronounced lids and small, straight nose are rounded off by a slightly smiling mouth. Beneath her veil, finely crafted, thick curls frame her face and are reflected in the short, wild curls of the baby Jesus’ hair. This creates a visual harmony between the two figures.

Stylistic features of the Madonna

The sculpture is an outstanding example of Gothic craftsmanship from shortly after 1300 and is characterized by the detailed design of the hair and masterful draping. The curly hair of Mary and the infant Jesus is meticulously carved and lends the figures an almost tangible plasticity. Mary’s veil has deep, doughy folds that flow softly yet voluminously. The tight-fitting bodice of her dress contrasts with the dynamic drapery of the cloak, which flows down diagonally from rounded bowl pleats to a more angular longitudinal pleat. These become tighter towards the hem and regain a doughy expression where the cloak billows out around Mary’s feet. Her pointed shoes also peek out here.

The master sculptor’s skillful treatment of the drapery not only emphasizes the gracefulness of the figure, but also captures the stylistic preferences of the era. The alternating tension and softness in the drapery of the fabric contribute to the liveliness of the Madonna and anchor the sacred theme of this image of grace in a tangible, human form.

Compare

A related sculpture is the so-called Madonna from Altenberg from around 1334 from the Bavarian National Museum in Munich (L 81/57). Mary’s smiling expression, the communication between mother and child and the wrinkles are particularly comparable. The border, which lies almost flat on the ground and is created from a diagonal longitudinal fold starting from the mother’s lap, is particularly noteworthy. However, other views are evident in the detailed elaboration of the hair and the degree of intimate exchange between mother and child. In the Altenberg Madonna, Jesus is turned only slightly towards his mother, his right hand extended only vaguely in her direction.

A more intimate devotion can be seen in the stylistically very similar “Milan Madonna”, which was created by one of the masters from the Cologne Cathedral workshop between 1300 and 1322. While the Altenberg Madonna is still depicted as the enthroned Mother of God, the Cologne Madonna is a courtly image of Mary, which occupies an important place in Cologne Cathedral as a miraculous image of grace. According to Robert Suckale, it can be considered a “reference” to Gothic sculptures due to its French-like, Mannerist style. Mary is depicted in a very similar majestic pose with the child on her left arm, who is turning towards her with the gesture of speaking. Although the folds here are smaller and richer, this drapery corresponds to that of the figure presented here in the overarching concept of a sequence of bowl folds, a transition into diagonal folds and an opening into flat borders. The smiling faces and the tender exchange of glances between mother and child are particularly comparable. However, in the depiction of the Madonna presented here, Jesus is completely turned towards his mother, even turned away from the viewer, in an active, excited-looking posture, in an insistent dialog with Mary.

Emphasis on intimacy

This sculpture is characterized by the depiction of the intimate connection between Mary and the infant Jesus. The dynamic interaction between the figures is a clear departure from the rather static, hierarchical depictions of the Virgin and Child in earlier epochs. Their direct interaction – characterized by lively gestures, a moving posture and an emphatic facial expression – conveys a feeling of warmth and personal connection. This emotional depth makes the work not only a work of art of exquisite quality, but also a depiction of deep devotion that invites the viewer to reflect on the human aspect of the divine relationship in this image of grace.

Literature

Exhib. cat. Museum Schnütgen, 04.11.2011-26.02.2012: Splendor and grandeur of the Middle Ages. Cologne Masterpieces from the Great Collections of the World, Munich 2011.

Ulrike Bergmann, The choir pillar figures of Cologne Cathedral. New clues in an old case of art history, in: Wallraf-Richartz-Jahrbuch 75 (2014), pp. 7-36.

Renate Eikelmann (ed.), Bayerisches Nationalmuseum. Handbuch der kunst- und kulturgeschichtlichen Sammlungen, Munich 2008.

Ulrich Söding, Beautiful Madonnas. Still images and seated figures, Munich 2008.

Robert Suckale, Art in Germany. From Charlemagne to the present day, Cologne 1998.