In the oil painting, The Madonna of the Meadows by Raphael, he uses atmospheric perspective to determine the depth between the people in the paining and the landscape pictured in the background. This painting portrays the Virgin with Christ and St. John the Baptist. The figures in the sketch are orchestrated in a pyramidal arrangement. This is something that Raphael had gotten from Leonardo, especially his prevalent animation demonstrating the Virgin, St. Anne, and their kids, which was situated in another place in Florence. Raphael likewise grabbed on Leonardo’s artistic idea of fine chiaroscuro to show the figures, so they seem to consume up genuine room inside the image. Raphael seemed to have used a lighter color palette. Raphael has utilized depth in point of view to demonstrate how the scene is far from us, the watcher. As we think back, we can see exactly how unspoiled and tranquil the setting truly is. The scene out of sight has smooth bends, and this is associated with the figures through the Madonna’s neck area and shoulders, which likewise bend delicately.
In the tempera on panel with gold leaf is the painting, Virgin and Child Enthroned by Cimabue, the casing is adorned with twenty-six painted emblems portraying Christ and four blessed messengers, and prophets and holy people. This painting uses linear perspective and is very dense. It’s a flat surface with almost no depth. Cimabue’s palette is fragile, with shaded tones, quite in the blessed messengers’ wings. The figures go up against genuine strength and an exceptional visual nearness. The craftsman arranged the ground for fourteenth-century Florentine workmanship. His works raise the issues that would engross his successors, outstandingly Giotto: the portrayal of room, the portrayal of the body, and light.
The two works of art portray a similar topic – the Virgin Madonna holding the Christ tyke with blessed messengers and prophets encompassing them. At first, because of a similar situating of the child Christ upon the lap of the Virgin Mary and the comparative situating of Madonna upon her position of authority, the two works of art appear to be relatively indistinguishable. Be that as it may, some key contrasts exist, out of which the most unmistakable is the expansion in the detail of the attire and the collection of Madonna’.
In the Cimabue version, Madonna is painted as an agile figure, although her pieces of clothing are not appeared to stick to her body. The Giotto variant, be that as it may, depicts the Virgin Mary as a heavier set figure with obviously jutting knees unmistakable by the folds of her garments. Her look in the rendition painted amid the Renaissance likewise indicates a lot more prominent detail – with the diagrams of the whites of her eyes, her mouth, and the extending of her jaw plainly characterized with a lot of littler brushstrokes. The kid likewise demonstrates this detail in the Giotto variant with the facial highlights comparably complemented as those of his mom. The Giotto form likewise delineates the kid in a less complimenting, albeit more practical way, with some abundance mass, added to his cheek and pectoral area.