The work clearly shows the Madonna in her throne, around whom there are a couple of saints. This is a very strong theme since it is associated with Annunciation. This is a theme that many Christians will associate with.
There are two trees of the citrus type that surmount the saints. From a lower position, it is easy to observe the two figures that are portrayed in the foreground as a deliberate tactic by Andrea Mantegna. The painting is well planned since it shows a well-balanced picture that captures the viewer's attention on the spot.
There is no space that is carelessly used in the painting and this is just like the rest of Mantegna’s paintings. As you look at the painting, it is easy to realize that there is an emphasis on depth. This is evidenced by the fact that Madonna is herself at the near rear of the painting with some of the saints taking the sides and the near front space. The carefulness with which this is done does not steal the show from Madonna herself since she still remains to be the subject of the painting. This is a powerful trait in art.
Trivulzio Madonna is a name that was given at Trivulzio Collection of Milan. This is the collection that owned this painting for a considerable length of time, from 1791 to 1935. Today, Trivulzio Madonna is owned by Castello Sforzesco. This is the individual who owns the Sforza Castle Pinacoteca in Milan.
The commissioning of this large altarpiece was done for the monks of Olivetan. These monks were of the Santa Maria Organo monastery that is in Verona. These are the reformed monks white Benedictines, with St Benedict appearing on the right-hand in the painting. Saint Jerome is seen standing next to him with a model of a church in his hand. The painting was ordered by the monks due to their church which had just been renovated as well as extended. John the Baptist is not left form this since he is shown pointing to the centre of the painting. This is very tactical and goes a long way to ensure that all attention goes to Madonna and the child that she is holding.