Madonă was painted by Sava Henția in 1870.

Where can I see Madonă?

Madonă is held by Bucharest Municipality Museum.

What movement is Madonă?

Madonă is associated with Byzantine icon painting.

Artwork

Madonă

Sava Henția , 1870

Madonă is an unspecified painting by the Byzantine icon painting artist Sava Henția. It dates from 1870 and is held in the collection of the Bucharest Municipality Museum.

About this work

This painting shows a woman in a long dress holding a baby. The colors are soft and the light looks gentle. It’s a quiet scene, not dramatic.

The artist painted it in 1870. That’s early for the style we see here. The brush strokes are loose and the colors blend smoothly.

See how the light falls on the fabric? That’s called sfumato. It blurs edges softly.

Look up sfumato next.

Overview

Created in 1870 by Sava Henția, a Romanian artist born in the Austrian Empire, *Madonă* is an oil painting that depicts a serene mother‑child scene. The work is part of the Museum of Ethnography’s collection and exemplifies the influence of Byzantine iconographic tradition on 19th‑century Romanian visual culture.

Subject & Meaning

The composition presents a woman in a flowing robe cradling an infant, rendered with a calm, devotional tone. The figures convey a quiet reverence typical of Marian imagery, inviting contemplation rather than narrative drama, and reflect the religious symbolism common to Eastern Orthodox iconography.

Technique & Style

Henția employs a soft, blended palette and a subtle sfumato that gently diffuses edges, especially on the fabric and skin. Brushwork remains relatively loose, allowing colors to transition smoothly, while the overall effect retains the flatness and stylized forms associated with Byzantine models, merged with a modest Romantic sensibility.

History & Provenance

Born in 1848, Henția worked as a painter, decorator, and illustrator until his death in 1904. *Madonă* was produced early in his career, at a time when Romanian artists were integrating Western techniques with traditional Eastern motifs. The painting entered the Museum of Ethnography’s holdings as part of its effort to document national religious art.