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92:. Assumed to be a prisoner of war, the question is raised as to why a Florentine artist was asked to execute such an important Sienese painting. It must be assumed that Coppo was already well known and highly regarded at this time for the Sienese to have commissioned him within a year of the bloody conflict with Florence.
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sitting on a high-backed throne. The Virgin looks at the viewer, although her body is slightly turned to the left and her head is bent towards the Child. Coppo is now widely accepted as the first to employ the angled throne in the representation of the Virgin and Child. The clothing, different than
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It is evident that this
Florentine artist studied during his time in Siena suggested by his later use of a more balanced space, graceful poses and gestures, and an interest in varied textures – all elements derived from Sienese painting. As well, Coppo was strongly influenced by the Byzantine style
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characterized by its emphasis on light, shadow, and volume that in combination was used to create the illusion of life. The composition and style employed in the rendering of clothing, as seen in bulky and stiffly pleated cloth in
Madonna del Bordone, is reminiscent of Romanesque figure sculptures.
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style, is of northern origin and perhaps is the first time to be used in Tuscan painting. Seen as well for the first time in Tuscan painting are a number of iconographic features. The Child’s bare arms and feet, the gesture of the Virgin’s touch to her child’s right foot, the sash of the Child’s
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is the only surviving documented work by Coppo and it is believed that his signature and the date were still visible on the painting around 1625. The panel of the painting is unusually large for the time measuring 220 cm x 125 cm, approximately 7 ft x 4 ft. The painting depicts the
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has been used as well as a gold leaf background, both typical of the
Sienese style. In his work, Coppo used the method ‘tecnica a velatura,’ in which he began by laying down the purest colors, which were then covered by tinted varnishes and glazes which helped to evoke a sense of volume.
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artist whose name and works are well documented. One of the earliest references to Coppo is found in the Book of
Montaperti where his name is listed amongst Florentines soldiers for the war with
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garments, and the fabric on which the Child sits are all linked to Christ’s
Passion and to the Virgin, themes very important to the Servite patrons. Extensive
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on
September 4, 1260. It is speculated by many historians that Coppo was taken prisoner by the Sienese where he was then held at the church of
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Attributed to Coppo di
Marcovaldo - Mosaic on the vault (Detail of Christ). Second half of thirteenth century. Baptistery, Florence.
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Although the
Madonna del Bordone is Coppo’s only surviving work today, there are many other works attributed to the artist.
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Coor-Achenbach, Gertrude (1946). "A Visual Basis for the
Documents Relating to Coppo di Marcovaldo and his Son Salerno".
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Cataclysm: the Black Death Visits
Tuscany. Lawrenceville, NJ: Films Media Group, 2004. Internet resource.
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237:(1946). "A Visual Basis for the Documents Relating to Coppo di Marcovaldo and his Son Salerno".
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style, active in the middle of the thirteenth century, whose fusion of both the Italian and
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Coor, Gertrude (1948). "Coppo di Marcovaldo: His art in relation to the art of his time".
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Coor, Gertrude (1948). "Coppo di Marcovaldo: His art in relation to the art of his time".
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Coor, Gertrude (1948). "Coppo di Marcovaldo: His art in relation to the art of his time".
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Coor, Gertrude (1948). "Coppo di Marcovaldo: His art in relation to the art of his time".
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Coppo di Marcovaldo's Madonna del Bordone: Political statement or profession of faith?
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Coppo di Marcovaldo's Madonna del Bordone: Political statement or profession of faith?
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Coppo di Marcovaldo's Madonna del Bordone: Political statement or profession of faith?
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Coppo di Marcovaldo Madonna and Child. c. 1265. Panel. St. Martino dei Servi, Orvieto.
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151:• 1265 – Pistoia frescos in the chapel of St. James in the Cathedral of S. Zeno.
281:(1948). "Coppo di Marcovaldo: His art in relation to the art of his time".
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304:. University Park, PA: Pennsylvania State University Press. p. 74.
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Mosaic on the vault (Detail of the Hell Scene), Baptistery, Florence.
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Sixth Ed. (Upper Saddle River, New Jersey: Prentice Hall, 2007), 45.
148:• 1261 – Madonna del Bordone in the Sta. Maria dei Servi at Siena.
154:• 1265–68 – Madonna and Child in Sta. Maria dei Servi at Orvieto.
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82:. It was here in 1261 that he painted his most famous work The
46:(c. 1225 – c. 1276) was a Florentine painter in the
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Painting in the Age of Giotto: A Historical Reevaluation
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had great influence on generations of Italian artists.
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349:. Brookfield: Ashgate Publishing Co. p. 239.
334:. Brookfield: Ashgate Publishing Co. p. 252.
319:. Brookfield: Ashgate Publishing Co. p. 238.
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164:• 1274 – Crucifix in the Cathedral of Pistoia.
62:Coppo di Marcovaldo is one of the better-known
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