In this artwork, how is the Botticelli's Madonnas discussed?
It is widely agreed that Botticelli went through three distinct artistic phases, marked by the subjects of his work rather than any shift in artistic style. During the first of these three phases, he maintained a very moderate, average emotional state throughout the content of his paintings, aptly regarded as the "Medici phase". During this phase, Botticelli painted several Madonnas, including another large-scale tondo, Madonna of the Pomegranate. Each of them were incredibly maternal in nature, the soft motherly love of the Virgin accentuated by the tenderness between herself and the Christ child. Botticelli famously painted his female figures, especially his Madonnas, with incredibly pale, porcelain-like faces, with light pink blushing across their noses, cheeks, and mouths. This phase in Botticelli's art was also characterized by the combination of features typically found in court paintings, as well as qualities learned from his study of Classical works. Botticelli juxtaposes the Classical grace of these quasi-courtly paintings with the garb of then-contemporary Florentines.
Much like Madonna of the Pomegranate, this Madonna is seen holding a pomegranate in her left hand. Although there are no definitive arguments regarding the pomegranate seen in the Madonna of the Magnificat, there has been discussion that the pomegranate seen in the other tondo is representative of an anatomically accurate human heart. Pomegranates have been used symbolically throughout artistic eras, beginning in pagan mythology where it symbolized Persephone and her springtime return to earth. With the introduction of Christianity, this symbolism evolved to represent immortality and resurrection. In addition, because of its many seeds, the pomegranate can also symbolize fertility. The pomegranate is often used in Renaissance art to represent the fullness of Jesus' suffering and resurrection. Some experts have noted the cardiac anatomic accuracy of the pomegranate, which may further emphasize this suffering experienced by Jesus in his corporeal form. This accuracy can also be seen in the Madonna of the Magnificat, although the placement is below Christ's heart, whereas the placement of Madonna of the Pomegranate sits right above his heart.
Madonna of the Pomegranate Persephone Pomegranate pomegranate tondo Magnificat