Who painted Maica Domnului cu Pruncul?

Maica Domnului cu Pruncul was painted by Orăștie Stan din Rășinari in 1774.

Where can I see Maica Domnului cu Pruncul?

Maica Domnului cu Pruncul is held by Alba Iulia Orthodox Archdiocese.

What movement is Maica Domnului cu Pruncul?

Maica Domnului cu Pruncul is associated with Romanticism.

Artwork

Maica Domnului cu Pruncul

Orăștie Stan din Rășinari , 1774

Maica Domnului cu Pruncul is a drawing by the Romanticist artist Orăștie Stan din Rășinari. It dates from 1774 and is held in the collection of the Alba Iulia Orthodox Archdiocese.

About this work

Overview

Created in 1774 by the Romanian painter Stan din Rășinari of Orăștie, this panel titled “Maica Domnului cu Pruncul” is part of the collection of the Museum of Ethnography. It depicts a traditional religious motif rendered in a modestly sized, aged image that shows signs of wear such as fading and minor cracking.

Subject & Meaning

The composition presents the Virgin Mary seated beside the infant Jesus, both crowned and surrounded by golden halos that emphasize their sanctity. Mary is shown in a red robe edged with gold, holding a prominent pearl necklace, while the child, smaller in scale, rests close to her, reflecting the intimate mother‑child relationship central to Orthodox iconography.

Technique & Style

Executed in a folk‑icon tradition, the work employs a limited palette of deep blues, reds, and golds, with flat areas of color and stylized facial features. The halos and decorative trim are rendered in gold leaf or pigment, creating a luminous contrast against the dark background, while the overall handling is characteristic of 18th‑century Romanian ecclesiastical painting.

History & Provenance

The panel originated in the Transylvanian region and remained in local religious settings before being transferred to the Museum of Ethnography, where it now serves as an example of regional devotional art from the late 1700s.

Context

During the late 18th century, Romanian painters such as Stan din Rășinari blended Byzantine iconographic conventions with local folk aesthetics. This synthesis is evident in the work’s formal arrangement, the use of vivid colors, and the emphasis on hierarchical symbolism through crowns and halos.