The Virgin and Child Enthroned

Mary, holding Jesus in her arms, is centrally positioned against a gold detailed architectural backdrop, reflecting the traditional iconography of the enthroned Virgin and Child. This composition suggests the theme of “Maestà” or “Majesty,” emphasising the figures religious significance.

In the painting from the studio of Adriaen Isenbrandt, the artist masterfully infuses the scene with rich symbolism and hidden meanings that reflect the cultural and religious context of the period. The infant Christ, seated on the Virgin Mary’s lap, is draped in a delicate, translucent white garment that symbolises his purity. In his hand, he clutches a piece of coral, a multifaceted symbol representing immortality, youth, and health. Notably, coral was also a common teething tool during that era, adding another layer of contemporary relevance.

A scarlet-headed blackbird, native to South America, perches gracefully on Christ’s outstretched finger. This bird is a potent symbol of creation and protection, enhancing the divine narrative of the scene. Mary, with a tender and loving gesture, caresses Christ’s back while gazing adoringly at her son, underscoring her role as the nurturing mother of God.

Mary is centrally positioned within an architectural alcove, which subtly suggests a heavenly halo without explicitly depicting one. The alcove’s niches, traditionally used to emphasise the importance of sculptures, further highlight her significance. She is adorned in a voluminous red gown, with the undulating folds of the fabric accentuated by white highlights. The red colour of her dress symbolises maternal qualities, while the iridescent blue undercoat, visible in certain areas, signifies sanctity and purity due to its rarity and expense at the time.

Moreover, Mary is depicted as the epitome of contemporary Medieval beauty standards. Her long, fine, fair red hair, pale complexion, bright eyes, and red lips all conform to the ideals of beauty during that period. This portrayal not only emphasizes her divine nature but also connects her to the viewers of the time, making the sacred scene more relatable and profound.

Studio of Adriaen Isenbrandt

Adriaen Isenbrandt, also known as Adriaen Ysenbrandt, was a notable painter in Bruges during the final years of Early Netherlandish painting and the early stages of the Dutch and Flemish Renaissance of the Northern Renaissance. Although no specific works can be definitively attributed to Isenbrandt himself, it is believed that he operated a large workshop. This workshop specialised in religious subjects and devotional paintings, adhering to the conservative and traditional style characteristic of Early Netherlandish art from the previous century.

Museums

Museu Nacional Machado de Castro, Ciombra
Kunsthalle, Hamburg
Lowe Art Museum, Miami
National Gallery, London
Groeningemuseum, Bruges
Museum of Fine Art, Budapest
Alte Pinakothek, Munich
Museum voor Schone Kunsten, Ghent
Kunsthistorisches Museum, Vienna
National Gallery of Ireland
San Diego Museum of Arts
Museum del Prado, Madrid
Ashmolean Museum, Oxford
Fondation Bemberg Museum, Toulouse, France
Museo Nacional del Bellas Arts, Buenos Aires, Argentina
Galleria Doria Pamphili, Rome
Alte Pinakothek, Munich
Musee de Cluny, Paris