Alsace-Lorraine, 15th century, Madonna and Child

Alsace-Lorraine, 15th century

Madonna and Child

Polychrome sandstone, height 62 cm

This polychrome stone sculpture, attributable to the 15th-century Alsatian school, captures a moment of intimate sweetness and majesty. The Virgin Mary is depicted standing, with a serene and regal expression, further highlighted by the crown that adorns her head. Her features are delicate, and her gaze seems to be turned towards the viewer with profound calm. In her arms, she tenderly holds the Child Jesus. The little one is portrayed in a lively pose, with marked dynamism, almost as if he wanted to interact with the outside world, blessing or simply offering his presence to humanity. The divine Son holds a pelican in his little hands; in the Christian world, also following a work of a symbolic nature – the Physiologus (4th century AD) –, the image of the pelican will gradually establish itself as a symbol of the Eucharistic Christ who gives his flesh and blood to eat for the life of his children. The pelican thus lends itself to a dual symbolism: it is understood both as an image of Christ who allows himself to be crucified and gives his blood to redeem humanity, and as an image of God the Father who sacrifices his Son by resurrecting him from the dead after three days. The polychromy adds an element of liveliness and realism to the sculpture. Marked traces of color can be clearly distinguished on the Virgin's garments, denoted by the presence of golden decorations or stylised floral motifs, typical of the aesthetics of the International Gothic period. The drapery of the garments is rendered with elegant and sinuous folds, which give movement to the majestic figure. The sculpture exudes a strong spirituality, typical of religious works of the period. The relationship between the Mother and the Son is at the centre of the representation, constituting a fundamental theme in Christian iconography. The mastery of the fifteenth-century French sculptor is manifested in the ability to infuse humanity and divinity into this touching image.

In sculpture, several key characteristics of the plastic production of Alsace-Lorraine in the 15th century are present: Alsatian sculptures are characterised by the great expressiveness of the characters, by the extreme care given to the drapery, particularly defined, by the bright and colourful polychromy, which often includes the presence of golden details, and by the coexistence of artistic influences connected to the German and French spheres. The rich decoration of the dress, which infuses an aura of preciousness from the figure of the Virgin, harks back to the sphere of the international late Gothic. France boasts a rich tradition of sandstone sculptures: this material, relatively malleable and easy to find, was used in particular to create works of great visual and symbolic impact, especially of a religious nature. French sandstones, known for their variety of colours and consistencies, were used, especially between the Middle Ages and the Renaissance, in figurative, architectural and decorative sculptures, offering a wide range of expressive possibilities. The geographical position of Alsace-Lorraine, a borderland between France and Germany, means that the sculpture presents suggestions connected to both cultural spheres. The monumentality of the forms seems to look to the most excellent examples of French sculpture between the Late Gothic and the Renaissance: just think of the imposing plastic works of Claus Sluter, originally from Haarlem in Flanders but active throughout his life between Dijon and Champmol, such as the so-called Well of the Prophets and the Annunciation on the portal of the Chartreuse of Champmol. The relationship between the Virgin and Child also shows various analogies with the sculptures of Claus Sluter's nephew, Claus Van de Werve, a master highly appreciated in the French sphere in the first half of the fifteenth century. The marked colourism and the defined features of the Virgin's face, as well as the touch of Gothic-derived preciousness of the golden crown and damask cloak, are instead of German tradition: in fact, one can note a revival of the models of the Master of the Naumburg Cathedral and of Veit Stoss, known for his wooden sculptures in Leipzig and Dresden.