Rococo or late Baroque style later came in the 18th century and impacted on art’s sculpture, painting, decoration and interior design. Giotto di Bondone’s “Madonna Enthroned” created in 1300 by an Italy using the Rococo technique and Garofalos "Madonna and Child in Glory" created in 1935 in Pinacoteca Capitolina are two distinct but closely related masterworks whose exploration can be quite enthralling. This paper shall candidly and comprehensively analyze the two artworks with the predominant aim of determining how similar or different they are in terms of style and the thematic implications or the messages that the artists envisioned to deliver to the audience.
Giotto’s “Madonna Enthroned”, drawn on tempera on panel, patently indicates that the art was painted by an iconic painter, probably cultured and trained in Greek but working in Italy or for a western promoter. This can be derived from the way the artist blends byzantine with western elements in the entire masterpiece. The folds of the cloths are defined by a byzantine concord and the image’s composition is modeled on the Hodegetria, the virgin, who points at the child to show that he is the way, the truth and the light. Additionally, the son, Jesus, gives the Western signs of blessings. The halos on the side of the child are decorated with floral patterns that are popular in Italy. Moreover, the image has a 3-D view, particularly in the virgin’s thrown, to indicate western influence. The artist intentionally uses a virgin with archangels’ majestic regalia and red shoes in the elaborate throne to accentuate Mary’s role as the crowned head of Heaven.
In the artwork, the golden background connotes the heavenly kingdom implying that the artist knew quite well how gold was treasured in the then community due to its economic value and its imperative role in determining one’s social and economic status. At