Renaissance With it, humanity returned to the

Renaissance was a cultural and artistic phenomenon emerged in Italy and developed at the beginning of the Modern Age, covering the fifteenth and sixteenth centuries. With it, humanity returned to the principles that were given in Classical Antiquity, through humanism without renouncing the Christian tradition, but replacing the medieval religious omnipresence with the affirmation of man and the world. One of the greatest advances in Renaissance painting was the overcoming of the static forms that had characterized medieval painting. This overcoming, not only had to do with a greater approach to reality, although it is true that the works of this stage are much more realistic and naturalistic than those of the medieval era; but also, during the Quattrocento the iconographic models, especially the religious models, were closer to everyday and simple forms. Its protagonists acquired naturalistic forms closer to the viewer. Two of the most recognized and significant artists from this age, Leonardo Da Vinci and Fra Filippo Lipis delighted the word with their works, but in this essay we will compare and contrast Madonna and Child with two Angels and the magnificent Last Supper.
According to the academic journal Arts Columbia, Fray Filippo Tomasso Lippo, better known simply as Filippo Lippi (1406 – 1469) is one of the most outstanding painters of the first generation of Italian Quattrocento artists. His painting was strongly influenced by the perspective studies of his master Masaccio so his works stand out for their striking color and the realistic perspective he uses in his canvases. As his own name indicates Filippo Lippi was a friar in the order of Carmel, for his own congregation he made numerous works of religious theme and this is precisely the genre to which he dedicated almost all his paintings. Despite having devoted his life to religion, Fray Filippo Lippi fell in love with the novice Lucrezia Buti, both hung up their habits and had a son named Filippino Lippi. In the masterpiece Madonna and Child with Angels the image that we analyze we find the painter’s lover as if it were the Virgin Mary herself, who devotes her son to watch with candor while he is supported by two angels. The Virgin is seated in a small footstool and has been represented with elegant clothes and a carefully touched in the hair made with a transparent veil and pearls, she is absorbed in her thoughts with her hands together as a prayer and her eyes low. Pay attention to the viewer. On the other hand, the Child advances his arms towards his Mother and perhaps the less realistic forms are observed in him; finally the angels holding the little one turn to stare at the viewer, one of them directly with a roguish gesture on his face, presenting a typical characteristic of this period, the artist, rather than focusing on the divinity, chose to focused on human like qualities: “We see in this painting an image of the Madonna and Christ Child that has become so real, the figures so human, that we can hardly tell that these are spiritual figures (except for the faint shadow of a halo). On the other hand, we have seen that in the Middle Ages, if you want to make your figure spiritual then you sacrifice its realism” (Gardner’s Art through the Ages: A Global History, volume II 15th edition)