The Maesta Genre

The Maesta is a genre that features Mary & Christ in heaven, typically accompanied by angels and saints, designed to be altar pieces.

 The three Maesta altarpieces I am posting here are the first I ever studied and are featured as the most grand and important in art history. The biggest impression is the sheer size of these pieces. This fact does not materialize when studying a blurry slide in art history class.

Altarpieces are intended to be seen from a great distance, high above the altar and this objective requires a monumental size.  Cathedrals and basilicas were growing taller and taller during this time with an intention to reach God. So a high altarpiece was essential.

Duccio (1st Maesta) 1285, also known as the Ruccelai Madonna - the hallmarks of this Sienese painter's work is the Byzantine, two dimensional overall look, meaning thin, almond shaped eyes, long, thin faces, hands and that tell tale sineuous gold edging on the Madonna's blue robe. It is hard to tell from a photo, but his subjects seem to hang flat in space. There is no real perspective, no shading or size differentiation.  But this is characteristic for 13th century art.

Giotto' (2nd Maesta) 1310 - Giotto is a monumental figure in art history because he is the first to begin employing techniques of perspective. His figures are very weighty and he mixes in white to create the beginnings of chiaroscuro (light-dark) painting for the purpose of creating contrast and perspective.

Cimabue (3rd Maesta) 1280-90 -Cimabue appears in the same breath, although perhaps less revered, as Duccio, also from the Sienese art school. One sees Byzantine features and lack of perspective common in the late 1200s.  Cimabue is considered to be the bridge to the International Gothic style.

One thing they all have in common is the stunning gold leaf background which is intended to be Heaven.