Duccio, Rucellai Madonna, 1285

Painted in 1285, Duccio di Buoninsegna’s famous work represents a significant departure from the Byzantine style that had previously dominated art. The most noticeable difference between Duccio’s work and those previous is the perspective. While the works of previous painters—and contemporaries such as Cimabue—presented the Madonna and Child looking directly at the viewer, the Rucellai Madonna presents them at an angle.

Duccio does not perfect the art of depth, but he makes an attempt, in itself unusual for its time. Duccio makes an attempt to shade the deep blue robe to represent shadow; the angels at the edge of the painting display his abilities here. Mary's robe’s naturally complex curves are beautifully done and much more intricate than the rigid form of days past demanded. Despite this, Duccio’s art in many ways represents a transition from one artistic style to the next. While he creates a much more life-like Madonna and child, the creepy boneless fingers and strange manhood of the baby remain. Madonna’s face fails to convey much meaning, greater expression appears in the reverent faces of the angels looking on from the sides.

These angels create upward movement in the painting by seeming to pull the throne up rather than hold it down, as does the pointed top and airy space above the throne. The throne itself bears bright hues and floral shapes lying behind a series of bars that support the structure. This differs greatly from other thrones of the day, such as those of Giotto or Cimabue, who painted much more solid structures. The small star visible on Mary’s shoulder comes from an alternate name for her, “Stella Maris,” or “Star of the Sea.” This name came about because Mary’s Hebrew name, Miriam, sounds similar to the Hebrew term for star of the sea.

Duccio’s work represents a major step in the progression of western art; additionally, it has value as a work in and of itself. The mother and child look forward, just as does Duccio.