Who painted Madonna and Child in a Glory Standing on a Crescent Moon?

Madonna and Child in a Glory Standing on a Crescent Moon was painted by German 15th Century in 1475.

Where can I see Madonna and Child in a Glory Standing on a Crescent Moon?

Madonna and Child in a Glory Standing on a Crescent Moon is held by National Gallery of Art.

What movement is Madonna and Child in a Glory Standing on a Crescent Moon?

Madonna and Child in a Glory Standing on a Crescent Moon is associated with Renaissance.

Artwork

Madonna and Child in a Glory Standing on a Crescent Moon

German 15th Century , 1475

Madonna and Child in a Glory Standing on a Crescent Moon is an ink print by the Renaissance artist German 15th Century. It dates from 1475 and is held in the collection of the National Gallery of Art. The work is a hand‑colored woodcut depicting a woman cradling an infant, both positioned atop a crescent moon.

About this work

Overview

The work is a hand‑colored woodcut depicting a woman cradling an infant, both positioned atop a crescent moon. The figure’s head is encircled by a crown of stars, and a stylized tree with spiky foliage rises behind them against a muted, cloud‑filled sky. The composition combines stark outlines with modest washes of rose, green, and yellow.

Subject & Meaning

The central figures represent the Virgin Mary and the Christ Child, a conventional religious motif. The moon and star crown allude to Marian iconography that emphasizes her purity and heavenly role, while the surrounding tree may symbolize the Tree of Life or the cross, reinforcing theological associations of salvation and divine motherhood.

Technique & Style

Executed as a woodcut, the image originates from a carved wooden block that transfers ink onto paper, producing bold, graphic lines and flat areas of color. After printing, the artist applied hand‑applied pigments in pinks, greens, and yellows, giving the piece a modest polychrome finish while retaining the characteristic two‑dimensionality of early printmaking.

History & Provenance

The print belongs to the tradition of devotional images produced in the late medieval to early Renaissance period, when woodcut was a primary means of disseminating religious iconography. Its hand‑coloring suggests a later stage of production, intended for private devotion or small‑scale distribution, though specific ownership records are not documented.

Context

During the era of its creation, printed images served both liturgical and instructional purposes, reaching audiences beyond the reach of painted altarpieces. The combination of a simple, emblematic composition with limited color reflects the practical constraints of early print technology while still conveying theological symbolism recognizable to contemporary viewers.