The Betrothal of the Virgin Pietro Perugino (1445-1523)
Pietro Perugino – The Betrothal of the Virgin
Edit attribution
Download full size: 2186×2881 px (0,9 Mb)
Painter: Pietro Perugino
Album navigation:
The subject of this painting is the biblical legend of how the virgin Mary was betrothed to Joseph the carpenter. It was painted by the talented artist Pietro Perugino in 1504 especially for the Cathedral. According to the Golden Legend, which describes the lives of holy men, Mary was a pupil of the Temple of Jerusalem. After the girl came of age, the priests were to marry her off to a decent and virtuous man. To find a suitable candidate, they placed their hopes in a sign from above.
ArtClub
Best Contemporary Atists
Description of Pietro Perugino’s painting The Engagement of Mary
The subject of this painting is the biblical legend of how the virgin Mary was betrothed to Joseph the carpenter. It was painted by the talented artist Pietro Perugino in 1504 especially for the Cathedral.
According to the Golden Legend, which describes the lives of holy men, Mary was a pupil of the Temple of Jerusalem. After the girl came of age, the priests were to marry her off to a decent and virtuous man.
To find a suitable candidate, they placed their hopes in a sign from above. All men who wished to marry Mary had to leave their staffs in the temple overnight. Which staff would blossom would become her husband. At heaven’s command, only on the staff left by Joseph did leaves blossom.
The painter depicted the marriage scene on the canvas The Engagement of Mary. The clergyman’s clothes are reproduced according to Old Testament descriptions. He holds the hands of the newlyweds as Joseph places the wedding ring on Mary’s finger. She is already carrying the future Savior under her heart. Joseph’s feet are barefoot. On his left shoulder lies a flourishing staff as a symbol of the fulfillment of the divine will.
At the edges of the picture is a group of men. The men are the unlucky candidates for Mary’s hand and the women are her friends. In the background is a spacious square paved with stone.
At its very center is the Temple of Jerusalem. The picture is striking in its grandiosity. The bulky domes, high arches, and beautiful steps are all techniques of ancient architecture. On either side it is surrounded by the blue sky and the soft lines of the green hills typical of that area.
Perugino’s painting is built on contrasts and symmetry. Strict straight lines are combined with rounded forms, but the characters look lively and natural. The delicate color palette and the superb recreation of every detail make the painting an embodiment of the divine power that lives on Earth in everything.
You cannot comment Why?
The young woman at the center of the group is characterized by her serene expression and modest attire, contrasting with the more ornate garments worn by some of those present. Her posture suggests a quiet acceptance or perhaps even resignation to the proceedings. The artist has given considerable attention to detail in portraying the textures of fabrics – from the rough weave of the men’s tunics to the rich brocade of the central figures robes.
Behind this group, an imposing classical building dominates the background. Its symmetrical design and precisely rendered architectural elements contribute to a sense of order and stability. The structure appears almost monumental in scale, dwarfing the figures in the foreground and creating a visual depth that draws the viewer’s eye further into the scene. A landscape stretches out beyond the building, populated by smaller figures engaged in various activities, suggesting a bustling community life.
The paintings use of light is noteworthy; it illuminates the central group with a soft, diffused glow, highlighting their faces and emphasizing their importance within the narrative. The background appears slightly less illuminated, creating a subtle contrast that further separates the foreground action from the surrounding environment.
Subtly, there’s an emphasis on the transition between the earthly realm (represented by the figures and immediate surroundings) and something more elevated or divine (symbolized by the classical architecture). This juxtaposition might imply a connection between human affairs and a higher power or destiny. The overall impression is one of solemnity and formality, suggesting a significant event taking place within a structured social order.