Allegretto di Nuzio, also called Allegretto Nuzi, Italian (active Fabriano and Florence), first documented 1345, died 1373 – Virgin and Child; Man of Sorrows Philadelphia Museum of Art

The composition presents two distinct yet interconnected figures arranged side-by-side within gilded frames. On the left, a woman cradles an infant in her arms. She is draped in a dark cloak lined with vibrant orange fabric, and her face exhibits a solemn, introspective expression. The child appears plump and serene, held securely against his mother’s chest. A halo encircles both figures, signifying their sacred status.
To the right of this scene stands a man, depicted in a posture of profound suffering. His body is partially exposed, revealing wounds that appear fresh and raw. He clasps his hands together over his torso, drawing attention to these injuries. The man’s face is marked by deep lines and a weary sadness; his gaze appears directed downwards, conveying a sense of resignation or quiet acceptance. A dark beard obscures much of his lower face, adding to the overall impression of anguish.
The artist employed a limited palette dominated by earthy tones – ochres, browns, greens – accented by the striking orange lining of the woman’s cloak and the gold leaf backgrounds. The figures are rendered with a degree of naturalism, though their proportions are somewhat stylized, characteristic of the period. The meticulous detail given to the wounds on the mans body contrasts sharply with the idealized beauty of the mother and child.
The juxtaposition of these two scenes suggests a complex interplay between joy and sorrow, innocence and suffering. The woman and child represent hope, maternal love, and divine grace; their presence offers a counterpoint to the palpable pain embodied by the figure on the right. It is likely that this pairing intends to explore themes of sacrifice, redemption, and the cyclical nature of human experience – the promise of renewal emerging from periods of profound loss. The deliberate placement of these figures alongside one another implies an emotional and spiritual connection between them, hinting at a narrative beyond what is immediately visible.