Who painted Virgin and Child?

Virgin and Child was painted by Master PS in 1450.

Where can I see Virgin and Child?

Virgin and Child is held by Art Institute of Chicago.

What movement is Virgin and Child?

Virgin and Child is associated with Early Renaissance.

Can I buy a print of Virgin and Child?

Museum-quality prints of Virgin and Child are available made-to-order from Artifact World Gallery.

Artwork

Virgin and Child

Master PS , 1450

Virgin and Child is an unspecified painting by the Early Renaissance artist Master PS. It dates from 1450 and is held in the collection of the Art Institute of Chicago. Created around 1450, this panel painting is attributed to the workshop of Pseudo‑Pier Francesco Fiorentino.

About this work

Subject & Meaning

The work's subject functions as a visual sermon on humility and grace, where Mary's gestures and attributes convey her role as the Church's spiritual mother.

The composition portrays the Virgin Mary cradling the infant Christ, embodying core Marian iconography of protection and divine motherhood within a medieval religious framework. The child's presentation as both a vulnerable human figure and a symbol of salvific destiny reflects theological themes of incarnation and intercession, aligning with standard Marian symbolism in 15th-century devotional art.

The work's subject functions as a visual sermon on humility and grace, where Mary's gestures and attributes convey her role as the Church's spiritual mother. This representation reinforces Catholic doctrines of divine favor and the sacred bond between mother and child, serving as an object of contemplation for worshippers.

Technique & Style

The work is classified as a painting created by the artist known as Pseudo-Pier Francesco Fiorentino, also identified as a Lippi-Pesellino Imitator. Dating to approximately 1450, the piece falls within the genre of religious art and depicts the Virgin Mary with the Christ Child. While the specific support material and technical handling methods are not detailed in the available records, the artwork is recognized as a devotional image from the mid-fifteenth century. It is currently held in the collection of the Art Institute of Chicago.

History & Provenance

The Virgin and Child is dated to circa 1450, aligning with the period associated with the circle of Lippi and Pesellino, whose stylistic traits inform its attribution to the Pseudo–Pier Francesco Fiorentino.

The painting entered the collection of the Art Institute of Chicago, where it remains in the museum’s holdings.

The painting known as Virgin and Child, attributed to the artist Pseudo-Pier Francesco Fiorentino, is held in the collection of the Art Institute of Chicago. Dating to approximately 1450, this religious work depicting the Madonna and Child resides permanently within the museum's holdings. The provided sources do not list a specific inventory or accession number for the piece, nor do they document any history of exhibitions or loans beyond its current location at the Art Institute of Chicago.

Context

Created around 1450, the Virgin and Child is attributed to the Pseudo-Pier Francesco Fiorentino, a designation used for an artist whose identity remains obscure but whose work imitates the style of Pier Francesco Fiorentino. This attribution places the painting within a specific circle of Florentine religious art from the mid-15th century, reflecting the period's continued engagement with devotional imagery of the Madonna and Child. The work is currently held in the collection of the Art Institute of Chicago, where it serves as an example of the output of followers and imitators active in the region during this era.

As a religious painting, it contributes to the understanding of how artistic styles were transmitted and adapted by lesser-known masters following established Florentine traditions.

Overview

Created around 1450, this panel painting is attributed to the workshop of Pseudo‑Pier Francesco Fiorentino. It portrays the Virgin Mary holding the infant Christ, set against a darkened backdrop that isolates the figures. The work is part of the collection of the Art Institute of Chicago, where it is displayed as an example of mid‑15th‑century devotional art.