The Golden Madonna of Essen is a sculpture of the Virgin Mary and the Infant Jesus. It can be distinguished by its wooden base covered head to toe with thin gold leaf sheets. Mary beholds a sense of elegance, her lengthy robe and upright posture signifies her royal type status. Mary’s expression represents a sense of numbness due to prolonged woefulness. The infant Jesus is snugly draped along Mary’s lap therefore an allegory of intimacy is created between the motherly figure and child. The infant sits in an leaning position, his head placed at an inclined position staring at the female figure with a feeling of hopefulness and a need for direction. This statue illustrates many characteristics and techniques of the medieval era. The use of golden sheets is used to emphasise the subject and signify the importance of the scene that is taking place within the statue. The golden sheets are also seen to reflect light at a specific perspective. Form is created in a irregular shape in which a dark tone is casted through certain shades of the female figures complexion and her drapery. Shadows are casted along the edge of the sculpture creating a sense of symmetry.
The Röttgen Pietà sculpture personifies the bleak reaction of Mary towards her son’s death. It can be perceived as a clear example of Gothic art. An overall tone of desolation is established. Mary sits upon a throne in a slightly leaning position, her expression of grief is heavily plastered across her face. Her overall body expression signifies her sadness. A droopy body, arched shoulders and quivering lips justify this claim. The rigid angle of Jesus’ head and limbs elicits a flaccid undertone signifying his defeat. From a physical standpoint the illustrious oversized heads of Jesus and Mary creates a disproportional appearance. It can be initiated that this was done in order to further emphasise the grief that is present. Polychromy is applied to demonstrate an overall darkness within the sculpture. When studying the complexion of both Mary and Jesus their is a distinct coarseness flushed across their faces. Deep three dimensional forms of wounds plastered around the body of Jesus and blood dripping along his face and limbs acknowledge the significant pain and suffering both individuals have gone through.
In relation to time period, the Golden Madonna of Essen was founded around 980 during the medieval era while the Röttgen Pietà was found in 1300 during the Proto-Renaissance. Generally in artworks/monuments, Mary was perceived as an elegant, godlike figure. This is present in the Golden Madonna of Essen through facial and body expressions, the overall colour and tone form an elegant composition. However the Röttgen Pietà displays an “Gothic” theme. Contrary Mary displays a rather angry and sad expression. A differentiation in overall appearance of Mary can also be signified. The Golden Madonna of Essen displays a youthful and high-spirited individual. Her illustrious eyes create a sense of beauty, a strong motherly figure. While the Röttgen Pietà displays an aged and weary Mary. When contrasting both artworks its noteworthy to establish the symbolic meaning of the periods of time of these events. The Golden Madonna of Essen paints the early life of Jesus as an infant. Along with this event holds a feeling of joy, one that compliments the prospect of youth.
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However the Röttgen Pietà showcases the death of Jesus. This symbolises the mourn that comes with death contrasted with the joy of birth and youthfulness. When looking at materials used in both statues a correlation is established in relation towards the colour palette and sets an overall tone of the artwork. Both statues hold the similarity of being made of wood. What differentiates the Golden Madonna of Essen is the leaf sheets covering the exterior. This depicts a sense of elegance. The Röttgen Pietà differs through its use of polychromy and its darker more earthier type palette.
This complements the “gothic” style. Mary’s pose, established through her upright position and infant Jesus uplifting and focused position signify a positive tone. When looking at the Golden Madonna of Essen overall a fairly symmetrical shape forms an elegant composition. With the Röttgen Pietà the slumped positioning of Mary’s posture and the fish like appearance of Jesus forms an irregular shape. Jesus body positioning forms a triangle, this irregularity creates a sense of urgency.
