One of the greatest advances in Renaissance painting involved overcoming the static forms that had characterized medieval painting. Said improvement not only had to do with a greater approximation to reality, although it is true that the works of this stage are much more realistic and naturalistic than those of the medieval period; but also, during the Quattrocento, the iconographic models, especially the religious ones, were closer to everyday and simple forms. Its protagonists acquired naturalistic forms, getting closer to the viewer.
In this sense, the work that concerns us here, Virgin with Child and Two Angels by Fray Filippo Lippi is one of the best examples in this regard, since if we can characterize the paintings of this Renaissance painter for anything, it is by making religious scenes, a pleasant and close scene for the viewer. In this way Fray Filipo Lippi can be considered as a kind of precursor of the well-known Raphael Madonnas with their familiar and simple forms.
Fray Filippo Tomasso Lippo, better known simply as Filippo Lippi (1406 – 1469) is one of the most outstanding painters of the first generation of Italian Quattrocento artists. His painting was strongly influenced by the perspective studies of his teacher Masaccio, so his works stand out for their colorstriking and the realistic perspective that he uses in his canvases. As his own name indicates, Filippo Lippi was a friar in the order of Carmel, for his own congregation he made numerous works on religious themes and this is precisely the genre to which he dedicated almost all of his pictorial works.
However, despite having consecrated his life to religion, Friar Filippo Lippi fell in love with the novice Lucrezia Buti, they both hung up their robes and had a son who was also a painter Filippino Lippi. In the image that we analyze herewe find the painter's loveras if it were the very Virgin Mary who devoutly observes her son with innocence while he is supported by two angels.
The Virgin is seated on a small footstool and has been represented with elegant clothes and a careful headdress in her hair made with a transparent veil and pearls, she is absorbed in his thoughts with his hands folded in prayer and his eyes lowered without paying attention to the viewer. On his part, the Child advances his arms towards his Mother and perhaps the less realistic forms can be observed in him; finally the angels holding the little one turn to stare at the viewer, one of them directly with a mischievous gesture on his face.
The characters are arranged in the foreground, together in front of a window that frames them and gives way to a rugged landscape with large rocks in which the colors of the ocher range stand out. The light spreads across the canvas quite realistically creatingsmall games of light and shadow.