Donato de’ Bardi’s style brings together Netherlandish and French influences, focusing on refined detail and careful study of light. At the center of this painting, which is still in its original frame, Donato captures the sheltering affection between the infant Christ and Madonna. Gesturing to the goldfinch in his hand, a symbol of the resurrection, the child reassures his mother that his destiny is ultimately one of hope. These panels may have been commissioned by Duke Filippo Maria Visconti (1392–1447) and his mistress Agnes del Maino, as their names match those of the two saints appearing on the wings of the triptych.
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