The Madonna of Humility is a innovative approach taken by the artist as he seeks new linear set ups and minor brush strokes. The artwork dates back to 1420 as Masaccio portrays scenes of Christianity through his painting.

Ognissanti Madonna by Giotto
Ognissanti Madonna by Giotto

The artwork is based on a linear angle as Masaccio places Mother Mary and the child in an upright position. The artist continues in the classic colours of Mother Mary as he paints her robe a rich blue with a deep red undershirt. The artist accentuated this material with metallic shades that cover the background acting as the founding colour.

The figure is a wooden tempera that was displayed within an Italian chapel circa 1424. Masaccio was a key figure in the Renaissance Era due to his impeccable ability to display solid masses in a way that was still able to show the depth of the artwork. The artist highlighted certain features on the flattened surface through a different array of colours and shades.

The art piece showcases Christian Mother Mary as she holds her son, Jesus. The artist had covered the theme of displaying the Madonna and her child in a previous artwork, Madonna Casini. It was incredibly popular during the Renaissance Era to showcase biblical scenery, as it was a gateway for viewers to understand the religion other than text.

The painting illustrate Virgin Mother Mary seated upright as she holds her son in her hands. The woman's gaze falls towards the side of the viewer as her head tilts to the right. Her emotionless face adds to the artwork as an array of questions up rise regarding what the artwork attempts to entail. The head of the religion seems seized by something in the distance or rather an internal thought that paralyzes her being.

Her eyebrows are dropped downwards in a sad angle as her droopy eyes round her face. The artist had added a peach pigment on the woman's cheeks; an artistic element that was not popular at the time. Masaccio had continued with the common colours of royal blue and deep red to paint the textiles Mary is clothed in. Her blue cloak covers her body as it blends into the brilliant gold leaf tones of the background.

The artist had portrayed the child nude, showcasing the innocence of a child whom will later develop as the head of the Catholic religion. The child's head is lightly tilted upwards from a side profile as he is seized by an aura as his mother is. This element creates an interesting subject within the artwork as the viewer ponders what the figures are consumed in.

The artist continued to use shift brush strokes in the gold leaf material to illustrate the prominent characteristic that adds to the artwork. The deep orange colour and gold material accentuate one another as they uprise a luxurious element within the art, Madonna of Humility.