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How Deep Is Your Love (Bee Gees song)
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"How Deep Is Your Love"
Single by Bee Gees
from the album Saturday Night Fever: The Original Movie Sound Track
B-side
"Can't Keep a Good Man Down" (live)
Released
September 1977
Format
7"
Recorded
1977 at Château d'Hérouville
(Hérouville, France)
Genre
Pop
R&B
Length
4:05
Label
RSO
Songwriter(s)
Bee Gees
Producer(s)
Bee Gees
Albhy Galuten
Karl Richardson
Bee Gees singles chronology
"Edge of the Universe"
(1977) "How Deep Is Your Love"
(1977) "Stayin' Alive"
(1977)
"Edge of the Universe"
(1977) "How Deep Is Your Love"
(1977) "Stayin' Alive"
(1977)
Audio sample
file
help
Saturday Night Fever track listing
17 tracks [show]
Side one
"Stayin' Alive"
"How Deep Is Your Love"
"Night Fever"
"More Than a Woman"
"If I Can't Have You"
Side two
"A Fifth of Beethoven"
"More Than a Woman"
"Manhattan Skyline"
"Calypso Breakdown"
Side three
"Night on Disco Mountain"
"Open Sesame"
"Jive Talkin'"
"You Should Be Dancing"
"Boogie Shoes"
Side four
"Salsation"
"K-Jee"
"Disco Inferno"
"How Deep Is Your Love" is a pop ballad and Rap based, written, and recorded by the Bee Gees in 1977 and released as a single in September of that year. It was ultimately used as part of the soundtrack to the film Saturday Night Fever. It was a number three hit in the United Kingdom and Australia. In the United States, it topped the Billboard Hot 100 on 24 December 1977 (becoming the first of six consecutive US number-one hits), ended the 10-week reign of Debby Boone's "You Light Up My Life" and stayed in the Top 10 for a then-record 17 weeks. The single spent six weeks atop the US adult contemporary chart. It is listed at number 22 on the 55th anniversary edition of Billboard's All Time Top 100.[1] Alongside "Stayin' Alive" and "Night Fever", it is one of the group's three tracks on the list. The song was covered by Take That for their 1996 Greatest Hits album, reaching number-one on the UK Singles Chart for three weeks.[2]
"How Deep Is Your Love" ranked number 375 on Rolling Stone's list of the 500 Greatest Songs of All Time. In a British TV special shown in December 2011, it was voted "The Nation's Favourite Bee Gees Song" by ITV viewers.[3] The song set a record by accumulating 33 weeks in one chart run. It was originally intended for Yvonne Elliman, but she later recorded "If I Can't Have You" instead.[4]
During the Bee Gees' 2001 Billboard magazine interview, Barry reportedly said that "How Deep Is Your Love" was his favorite Bee Gees song.[5]
Besides Saturday Night Fever, the song has also been featured in other films such as Donnie Brasco, Ready to Rumble, Forever Fever, Tongan Ninja, Anger Management, Adam's Apples, Disco, Sex and the City, A Dog's Purpose and Baywatch, and in television shows such as Get a Life, Ballykissangel, Marienhof, You Are The One, Two Faces, Nip/Truck, Millennium, The Simpsons, and Parenthood.
Contents
[hide]
1 Composition and recording
2 Release and critical reception
2.1 1983 lawsuit
3 Personnel
4 Notable cover versions
5 Chart performance
5.1 Weekly charts
5.2 Year-end charts
5.3 All-time charts
5.4 Sales and certifications
6 Take That version
6.1 Music video
6.2 Personnel
6.3 Track listing
6.4 Weekly charts
6.5 Year-end charts
6.6 Decade-end charts
6.7 Certifications
7 References
8 External links
Composition and recording[edit]
Following mixing for Here at Last... Bee Gees... Live, they began recording songs for what was to be the follow-up studio album to 1976's Children of the World. Then the call came from Robert Stigwood requesting songs for a movie he was producing. The Bee Gees obliged and gave him five songs, one of which was "How Deep Is Your Love". This track was written mainly by Barry Gibb, Robin Gibb and Maurice Gibb. Barry worked out the melody with keyboard player Blue Weaver, though he is not credited officially as a songwriter here. Co-producer Albhy Galuten later admits the contribution of Weaver on this track, "One song where Blue [Weaver] had a tremendous amount of input. There was a lot of things from his personality. That's one where his contribution was quite significant, not in a songwriting sense, though when you play piano, it's almost like writing the song. Blue had a lot of influence in the piano structure of that song".[6]
Weaver tells his story behind this track:
"One morning, it was just myself and Barry in the studio. He said, 'Play the most beautiful chord you know', and I just played, what happened was, I'd throw chords at him and he'd say, 'No, not that chord', and I'd keep moving around and he'd say, 'Yeah, that's a nice one' and we'd go from there. Then I'd play another thing - sometimes, I'd be following the melody line that he already had and sometimes I'd most probably lead him somewhere else by doing what I did. I think Robin came in at some point. Albhy also came in at one point and I was playing an inversion of a chord, and he said, 'Oh no, I don't think it should be that inversion, it should be this', and so we changed it to that, but by the time Albhy had come in, the song was sort of there.[6]
A demo was made at Le Château d'Hérouville in France, with the additional recording done at Criteria Studios when they got back to Miami.[7] As Weaver says, "We started work about 12 o'clock maybe one o'clock in the morning, and that demo was done at about three or four o'clock in the morning. Albhy played piano on the demo, I'd drunk too much or gone to bed or something. Then I woke up the next morning and listened to that, and then put some strings on it and that was it. Then we actually recorded it for real in Criteria. The chords and everything stayed the same, the only thing that changes from that demo is that when we got to Criteria, I worked out the electric piano part which became the basis of the song. It was the sound of the piano that makes the feel of that song."[6] Despite Weaver's absence on the first demo of the song as he fell asleep, Galuten claimed, "Even though I did the demo because he wasn't there, there were a lot of things from his personality [on 'How Deep Is Your Love']".[6]
On the song's lyrics, Barry revealed:
"A lot of the textures you hear in the song were added on later. We didn't change any lyrics, mind you, but the way we recorded it was a little different than the way we wrote in the terms of construction. A little different for the better, I think, the title 'How Deep Is Your Love' we thought was perfect because of all the connotations involved in that sentence, and that was simply it".[6]
There was some talk of Yvonne Elliman recording "How Deep Is Your Love," but, according to Barry, their manager Robert Stigwood said, "You've got to do this song yourself, you should not give it to anybody".[6]
Release and critical reception[edit]
"How Deep Is Your Love" was released as a single in September 1977 everywhere except in the UK, where it was released on 14 October 1977.[8] By the time Children of the World was recorded, it was pretty much established that Barry was now the primary vocalist of the group, mostly being falsetto leads with the occasional natural breathy voice. Even most of the backing vocals were done by Barry, such that Robin and Maurice are barely heard in the mix, even though they are there. Despite this, Robin sings the melody for the chorus and audibly sings various ad libs during this song. Two music videos were made for this song. In one, the brothers are singing while an image of a woman shows throughout the video. Barry Gibb had his beard shaven off in this video, as in the "Night Fever" video.[9] A second video was later made in which the brothers sing while passing by a stream of rainbow lights. In this video Barry Gibb is bearded.[10] On the Cashbox charts on the week February 4, 1978, when it was at #13, the soundtrack's second single "Stayin' Alive" was at #1 with "Night Fever" debuted at #71 on the same week.[11]
When "How Deep Is Your Love" became a UK #3, Barry exclaimed: "You have no idea what a thrill it is to have a Top Five single in England. With all the new wave and punk rock out, I would have thought something like 'How Deep Is Your Love' wouldn't have a chance. We always kept going forward and we're getting stronger every day".[6]
The song won Best Pop Performance by a Group at the 20th Grammy Awards which were held on 23 February 1978. The song also received a nomination for Best Original Song at the 35th Golden Globe awards held on 28 January 1978. The award went to "You Light Up My Life" by Kasey Cisyk. At the time of both award ceremonies, the song was still in the Top 10 on the Billboard Hot 100 chart.
1983 lawsuit[edit]
Main article: Selle v. Gibb
In 1983, the Bee Gees were sued by a Chicago songwriter, Ronald Selle, who claimed that the Gibb brothers stole melodic material from one of his songs, "Let It End", and used it in "How Deep Is Your Love". At trial, the jury returned a finding for Selle. The Bee Gees attorney immediately asked for judgment notwithstanding the verdict. The basis for the motion was that Selle had failed to show, as was required by the law, that the Bee Gees had prior access to his song. Even Selle had admitted that he'd sent out his demo tape to only a few recording companies, none of whom did business with the Bee Gees. Selle also admitted that there were some similarities between his song and several Bee Gee compositions that predated his song by several years, as well as similarities with the Beatles song "From Me to You" written by John Lennon and Paul McCartney (under Lennon-McCartney) The judge ruled in favour of the Bee Gees. Selle appealed the ruling, but it was upheld by the Seventh Circuit Court of Appeals which agreed that Selle had not proven his case.[12][13][14]
Personnel[edit]
Bee Gees
Barry Gibb - vocals
Robin Gibb - vocals
Maurice Gibb - vocals, bass guitar
Additional Personnel
Blue Weaver - electric piano, synthesizers
Alan Kendall - guitar
Dennis Byron - drums
Notable cover versions[edit]
In 2017, PJ Morton released a cover version on his album "Gumbo."
In 2010, smooth jazz artist Jaared released a cover version on his album "Manhattan Nights."
The 2007 the bird and the bee version, which features Australian pop star Sia as a backing vocalist.
The 1996 Take That version (discussed below).
In 1995 Portrait released their version as a single.[15]
In 1993, Luther Vandross released a version as Medley How Deep Is Your Love / It's Takes a Fool which in turn was an Intro to the Album's final song, "Never Let Me Go" which was the album's name.
When John Frusciante was a member of the Red Hot Chili Peppers he used to play live cover of the song.
Chart performance[edit]
Weekly charts[edit]
Charts (1977–78)
Peak
position
Australia (Kent Music Report)[16] 3
Austria (Ö3 Austria Top 40)[17] 13
Belgium (Ultratop 50 Flanders)[18] 6
Brazil[19] 1
Canada Top Singles (RPM)[20] 1
Chile[19] 1
Finland[19] 1
France (SNEP)[19] 1
Germany (Media Control Charts)[21] 21
Ireland (IRMA)[22] 2
Italy (FIMI)[19] 2
Netherlands (Dutch Top 40)[23] 8
New Zealand (Recorded Music NZ)[24] 6
Norway (VG-lista)[25] 5
South Africa (Springbok Radio)[19] 2
Spain (PROMUSICAE)[19] 7
Sweden[26] 4
UK Singles (Official Charts Company)[27] 3
US Billboard Hot 100[28] 1
US Billboard Adult Contemporary[28] 1
US Cash Box[29] 1
US Radio & Records[19] 1
US Record World [30] 2
Year
Chart
Peak
position
2012 France (SNEP)[31] 85
Year-end charts[edit]
Charts (1977)
Rank
UK[32] 19
Chart (1978)
Rank
Australia[33] 17
Canada[34] 53
US Billboard Hot 100[35] 6
All-time charts[edit]
Chart (1977–2013)
Rank
US Billboard Hot 100[1]
22
Sales and certifications[edit]
Region
Certification
Certified units/Sales
Canada (Music Canada)[36]
Gold 75,000^
France (SNEP)[37]
Gold 846,000[38]
United Kingdom (BPI)[39]
Gold 500,000^
United States (RIAA)[40]
Gold 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
Take That version[edit]
"How Deep Is Your Love"
UK CD 1 single
Single by Take That
from the album Greatest Hits
Released
26 February 1996
Format
Cassette, CD single
Recorded
1995
Genre
Pop
Length
3:40
Label
Polydor
Songwriter(s)
Barry, Robin & Maurice Gibb
Producer(s)
Take That, Chris Porter
Take That singles chronology
"Never Forget"
(1995) "How Deep Is Your Love"
(1996) "Patience"
(2006)
"Never Forget"
(1995) "How Deep Is Your Love"
(1996) "Patience"
(2006)
Music video
"How Deep Is Your Love" on YouTube
Take That's version was released as a single from their Greatest Hits compilation in 1996. The single went on to become what was to be the band's final UK number one until their 2006 comeback single "Patience" a decade later. The song stayed at number one in the UK charts for three weeks. The single sold 671,000 copies and has received a Platinum sales status certification in the UK. The song also topped the charts in Denmark, Ireland, Israel, Italy, Latvia and Spain.
Music video[edit]
The music video saw the four members of the band tied to chairs and in a basement. A blonde woman with heavy mascara (actress and model Paula Hamilton) walks into the basement and circles the four members individually pulling their hair. She then puts them all into her van and drives down the motorway. She stops by a reservoir and has the four members placed on the edge, she points at each member before grabbing Gary's rope and pushes him back still holding on. Her fingers slip through the rope and he falls backwards, the others look shocked as she does. She then smirks.
Personnel[edit]
Gary Barlow - lead vocals, backing vocals
Jason Orange - backing vocals
Howard Donald - backing vocals
Mark Owen - backing vocals
Track listing[edit]
UK Cassette single (74321 35591 5)
"How Deep Is Your Love" – 3:41
"Never Forget" (live from Earl's Court & Manchester Nynex) – 7:38
UK CD single no. 1 (74321 35559 2)
"How Deep Is Your Love" – 3:41
"Every Guy" (live from Earl's Court & Manchester Nynex) – 5:36
"Lady Tonight" (live from Earl's Court & Manchester Nynex) – 4:13
"Sunday To Saturday" (live from Earl's Court & Manchester Nynex) – 3:48
UK CD single no. 2 (74321 35560 2)
"How Deep Is Your Love" – 3:41
"Back for Good" (live from Earl's Court & Manchester Nynex) – 7:06
"Babe" (live from Earl's Court & Manchester Nynex) – 6:10
"Never Forget" (live from Earl's Court & Manchester Nynex) – 7:38
EU CD single no. 1 (74321 35243 2)
"How Deep Is Your Love" – 3:41
"Back For Good" (live from Earl's Court & Manchester Nynex) – 7:06
EU CD single no. 2 (74321 35244 2)
"How Deep Is Your Love" – 3:41
"Back for Good" (live from Earl's Court & Manchester Nynex) – 7:06
"Every Guy" (live from Earl's Court & Manchester Nynex) – 5:36
Japanese CD single (BVCP-2406)
"How Deep Is Your Love" – 3:41
"Every Guy" (live from Earl's Court & Manchester Nynex) – 5:36
"Babe" (live from Earl's Court & Manchester Nynex) – 6:10
"Back for Good" (live from Earl's Court & Manchester Nynex) – 7:06
UK 7" vinyl – jukebox release only (74321 35632 2)
"How Deep Is Your Love" – 3:41
"Never Forget" (live from Earl's Court & Manchester Nynex) – 7:38
Weekly charts[edit]
Chart (1996)
Peak
position
Australia (ARIA)[41] 12
Austria (Ö3 Austria Top 75)[41] 7
Belgium (Ultratop Flanders)[41] 5
Belgium (Ultratop Wallonia)[41] 4
Canada (RPM)[42] 80
Chile (IFPI)[43] 4
Denmark (Tracklisten)[44] 1
Europe (Eurochart Hot 100)[45] 3
Finland (Suomen virallinen lista)[46] 2
Germany (Media Control)[47] 7
Iceland (Tonlist)[48] 5
Ireland (IRMA)[49] 1
Israel (Media Forest)[50] 1
Italy (FIMI)[51] 1
Japan (Oricon)[52] 1
Latvia (EHR)[53] 1
Netherlands (Single Top 100)[41] 7
Norway (VG-lista)[41] 6
Poland (Polish Society of the Phonographic Industry)[54] 32
Scotland (Official Charts Company)[55] 1
Spain (PROMUSICAE)[56] 1
Sweden (Sverigetopplistan)[41] 7
Switzerland (Swiss Hitparade)[41] 5
UK Singles (Official Charts Company)[57] 1
Year-end charts[edit]
Chart (1996)
Position
Australian Singles Chart 100
Belgian (Flanders) Singles Chart 44
Belgian (Walonia) Singles Chart 35
Dutch Singles Chart[58] 51
Europe (Eurochart Hot 100)[59] 14
German Singles Chart[60] 66
Italian Singles Chart[61] 23
Norwegian Singles Chart (Russetid Period)[62] 14
Spanish Singles Chart[56] 16
Swiss Singles Chart 30
UK Singles Chart[63] 12
Decade-end charts[edit]
Chart (1990–1999)
Position
UK Singles Chart[64] 84
Certifications[edit]
Region
Certification
Certified units/Sales
Italy (FIMI)[65]
Platinum 50,000*
United Kingdom (BPI)[66]
Platinum 600,000^
*sales figures based on certification alone
^shipments figures based on certification alone
References[edit]
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External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"You Light Up My Life" by Debby Boone Billboard Easy Listening Singles number-one single (Bee Gees version)
26 November 1977 - 31 December 1977 (six weeks) Succeeded by
"Just the Way You Are" by Billy Joel
Preceded by
"Don't It Make My Brown Eyes Blue" by Crystal Gayle Cash Box number-one single (Bee Gees version)
17 December 1977 – 7 January 1978 (four weeks) Succeeded by
"Baby Come Back" by Player
Preceded by
"Don't It Make My Brown Eyes Blue" by Crystal Gayle Canadian RPM number-one single (Bee Gees version)
24 December 1977 – 28 January 1978 (eight weeks) Succeeded by
"You're in My Heart (The Final Acclaim)" by Rod Stewart
Preceded by
"You Light Up My Life" by Debby Boone Billboard Hot 100 number-one single (Bee Gees version)
24 December 1977 – 7 January 1978 (three weeks) Succeeded by
"Baby Come Back" by Player
Preceded by
"Ti amo" by Umberto Tozzi
"Magnolias Forever" by Claude François French SNEP number-one single (Bee Gees version)
17 March 1978 (one week)
21 April 1978 – 26 May 1978 (six weeks) Succeeded by
"We Will Rock You" / "We Are the Champions" by Queen
"It's a Heartache" by Bonnie Tyler
Preceded by
"Spaceman" by Babylon Zoo Danish number-one hits (Take That version)
11 April 1996 – 18 April 1996 (2 weeks) Succeeded by
"One of Us" by Joan Osborne
Preceded by
"Don't Look Back in Anger" by Oasis Irish IRMA number-one single (Take That version)
24 February 1996 – 9 March 1996 (3 weeks) Succeeded by
"Aon Focal Eile" by Richie Kavanagh
Preceded by
"One of Us" by Joan Osborne Israel Singles Chart (Take That version)
20 February 1996 - 20 March 1996 (4 weeks) Succeeded by
"Hallo Spaceboy" by David Bowie featuring Pet Shop Boys
Preceded by
"Children" by Robert Miles Italian Singles Chart number-one single (Take That version)
23 March 1996 (1 week) Succeeded by
"La terra dei cachi" by "Elio e le Storie Tese & Orchestra Spettacolo Casadei"
Preceded by
"Do U Still?" by East 17 Latvian Singles Chart (Take That version)
March 10, 1996 - April 28th 1996 (7 weeks) Succeeded by
"Get Down (You're the One for Me)" by Backstreet Boys
Preceded by
"Don't Look Back in Anger" by Oasis Scottish Singles Chart (Take That version)
3 March 1996 – 17 March 1996 (2 weeks) Succeeded by
"Children" by Robert Miles
Preceded by
"Jesus to a Child" by George Michael Spanish Singles Chart number-one single (Take That version)
25 March 1996 (1 week) Succeeded by
"Jesus to a Child" by George Michael
Preceded by
"Don't Look Back in Anger" by Oasis UK Singles Chart number-one single (Take That version)
9 March 1996 – 23 March 1996 (3 weeks) Succeeded by
"Firestarter" by Prodigy
[show]
v
t
e
Saturday Night Fever soundtrack
Side one
"Stayin' Alive"
"How Deep Is Your Love"
"Night Fever"
"More Than a Woman" (The Bee Gees)
"If I Can't Have You" (Yvonne Elliman)
Side two
"A Fifth of Beethoven" (Walter Murphy)
"More Than a Woman" (Tavares)
"Manhattan Skyline" (David Shire)
"Calypso Breakdown" (Ralph MacDonald)
Side three
"Night on Disco Mountain" (David Shire)
"Open Sesame" (Kool & the Gang)
"Jive Talkin'"
"You Should Be Dancing" (The Bee Gees)
"Boogie Shoes" (KC and the Sunshine Band)
Side four
"Salsation" (David Shire)
"K-Jee" (MFSB)
"Disco Inferno" (The Trammps)
[show]
v
t
e
Bee Gees
Barry Gibb
Robin Gibb
Maurice Gibb
Colin Petersen
Vince Melouney
Alan Kendall
Dennis Bryon
Blue Weaver
Studio albums
The Bee Gees Sing and Play 14 Barry Gibb Songs
Spicks and Specks
Bee Gees' 1st
Horizontal
Idea
Odessa
Cucumber Castle
2 Years On
Trafalgar
To Whom It May Concern
Life in a Tin Can
Mr. Natural
Main Course
Children of the World
Spirits Having Flown
Living Eyes
E.S.P.
One
High Civilization
Size Isn't Everything
Still Waters
This Is Where I Came In
Extended plays
The Bee Gees
New York Mining Disaster 1941
Soundtracks
Melody
Saturday Night Fever
Live albums
Here at Last... Bee Gees... Live
One Night Only
Compilation albums
Turn Around, Look at Us
Rare, Precious and Beautiful
Rare, Precious and Beautiful, Volume 2
Best of Bee Gees
Inception/Nostalgia
Best of Bee Gees, Volume 2
Bee Gees Gold
Bee Gees Greatest
Tales from the Brothers Gibb
The Very Best of the Bee Gees
Their Greatest Hits: The Record
Number Ones
Love Songs
The Ultimate Bee Gees
Mythology
Timeless: The All-Time Greatest Hits
Videography
Idea
Cucumber Castle
The Bee Gees Special
One for All Tour
One Night Only
The Ultimate Bee Gees
In Our Own Time
Tours
The Bee Gees' concerts in 1967 and 1968
Spirits Having Flown Tour
Articles
Discography
List of songs recorded
List of unreleased material
A Kick in the Head Is Worth Eight in the Pants
The Barry Gibb Talk Show
IBC Studios
Hither Green rail crash
Bands
The Rattlesnakes
Humpy Bong
The Fut
The Bloomfields
Tin Tin
The Groove
Billy Thorpe and the Aztecs
Toe Fat
Amen Corner
One World Project
People
Hugh Gibb
Andy Gibb
Steve Gibb
Spencer Gibb
Robert Stigwood
Arif Mardin
Ossie Byrne
Steve Kipner
Albhy Galuten
Book
Category
[show]
v
t
e
Bee Gees singles discography
1960s
1963
"The Battle of the Blue and the Grey" / "The Three Kisses of Love"
"Timber!" / "Take Hold of That Star"
1964
"Peace of Mind" / "Don't Say Goodbye"
"Claustrophobia" / "Could It Be"
"Turn Around, Look at Me" / "(Theme From) The Travels of Jamie McPheeters"
1965
"Every Day I Have to Cry" / "You Wouldn't Know"
"Wine and Women" / "Follow the Wind"
"I Was A Lover, A Leader of Men" / "And the Children Laughing"
1966
"I Want Home" / "Cherry Red"
"Monday's Rain" / "All of My Life"
"Spicks and Specks" / "I Am the World"
1967
"Born a Man" / "Big Chance"
"New York Mining Disaster 1941" / "I Can't See Nobody"
"To Love Somebody" / "Close Another Door"
"Holiday" / "Every Christian Lion Hearted Man Will Show You"
"Massachusetts" / "Barker of the UFO"
"World" / "Sir Geoffrey Saved the World"
1968
"Words" / "Sinking Ships"
"Jumbo" / "The Singer Sang His Song"
"I've Gotta Get a Message to You" / "Kitty Can"
"I Started a Joke" / "Kilburn Towers"
1969
"First of May" / "Lamplight"
"Tomorrow Tomorrow" / "Sun in My Morning"
"Don't Forget to Remember" / "The Lord"
1970s
1970
"If Only I Had My Mind on Something Else" / "Sweetheart" (US)
"I.O.I.O." / "Sweetheart"
"Lonely Days" / "Man for All Seasons"
1971
"How Can You Mend a Broken Heart" / "Country Woman"
"Don't Wanna Live Inside Myself" / "Walking Back to Waterloo"
1972
"My World" / "On Time"
"Run to Me" / "Road to Alaska"
"Alive" / Paper Mache, Cabbages and Kings"
1973
"Saw a New Morning" / "My Life Has Been a Song"
"Wouldn't I Be Someone" / "Elisa"
1974
"Mr. Natural" / "It Doesn't Matter Much to Me"
"Throw a Penny" / "I Can't Let You Go"
"Charade" / "Heavy Breathing"
1975
"Jive Talkin'" / "Wind of Change"
"Nights on Broadway" / "Edge of the Universe"
1976
"Fanny (Be Tender with My Love)" / "Country Lanes"
"You Should Be Dancing" / "Subway"
"Love So Right" / "You Stepped Into My Life"
1977
"Boogie Child" / "Lovers"
"Edge of the Universe (live)" / "Words (live)"
"How Deep Is Your Love" / "Can't Keep a Good Man Down" (live)
"Stayin' Alive" / "If I Can't Have You"
1978
"Night Fever" / "Down the Road (live)"
"Too Much Heaven" / "Rest Your Love on Me"
1979
"Tragedy" / "Until"
"Love You Inside Out" / "I'm Satisfied"
1980s
1981
"He's a Liar"
"Living Eyes" / "I Still Love You"
1983
"The Woman in You" / "Stayin' Alive"
"Someone Belonging to Someone" / "I Love You Too Much" (instrumental)
1987
"You Win Again" / "Backtafunk"
"E.S.P." / "Overnight"
1989
"Ordinary Lives" / "Wing and a Prayer"
"One" / "Flesh and Blood"
1990s
1990
"Bodyguard" / "Will You Ever Let Me"
1991
"Secret Love" / "Party with No Name"
"When He's Gone" / "True Confessions"
"The Only Love" / "You Win Again" (live)
"Happy Ever After" / "Evolution"
1993
"Paying the Price of Love" / "My Destiny"
"For Whom the Bell Tolls" / "Decadance"
1994
"How to Fall in Love, Part 1" / "Fallen Angel"
"Kiss of Life" / "855-7019"
1997
"Alone" / "Rings Around the Moon"
"I Could Not Love You More" / "Love Never Dies" (EUR)
"Still Waters (Run Deep)" / "Love Never Dies"
2000s
2001
"This Is Where I Came In" / "Just in Case"
Other countries
1968
"And the Sun Will Shine" / "Really and Sincerely" (France)
1970
"Let There Be Love" / "Really and Sincerely" (Netherlands)
1971
"When the Swallows Fly" / "Give Your Best" (Netherlands)
"Morning of my Life" / "To Love Somebody"
1972
"Israel" / "Dearest" (Netherlands)
"Sea of Smiling Faces" / "Please Don't Turn Out the Lights"
1977
"Children of the World" / "Boogie Child" (Australia}
1988
"Crazy for Your Love" / "You Win Again (Remix)"
"Angela" / "You Win Again (Remix)" (Germany, Netherlands)
[show]
v
t
e
Demis Roussos
Discography
Studio albums
On the Greek Side of My Mind (a.k.a. Fire and Ice)
Forever and Ever
My Only Fascination
Auf Wiedersehn
Souvenirs
Happy to Be...
Die Nacht und der Wein
The Roussos Phenomenon (EP)
Kyrila – Insel der Träume
The Demis Roussos Magic
Demis Roussos
Man of the World
Attitudes
Reflection
The Story of Demis Roussos
Time
Compilations
Greatest Hits
Golden Hits
Life & Love
Insel der Zärtlichkeit – Demis Roussos und seine 20 Welterfolge
The Phenomenon 1968–1998 (a.k.a. Forever and Ever – 40 Greatest Hits)
Forever and Ever – Definitive Collection
Collected
Singles
"We Shall Dance"
"My Reason"
"Goodbye, My Love, Goodbye"
"Forever and Ever"
"Velvet Mornings"
"My Friend the Wind"
"Schönes Mädchen aus Arcadia"
"Someday Somewhere"
"My Only Fascination"
"Auf Wiedersehn"
"With You"
"Manuela"
"Schön wie Mona Lisa (Wenn ich ein Maler wär')"
"From Souvenirs to Souvenirs"
"Perdoname"
"Vagabund der Liebe"
"Happy to Be on an Island in the Sun"
"Die Bouzouki, die Nacht und der Wein"
"Can't Say How Much I Love You"
"When Forever Has Gone"
"Because"
"Kyrila"
"Ainsi soit-il"
"That Once in a Lifetime"
"L.O.V.E. Got a Hold of Me"
"Lost in Love"
"Follow Me"
"Love Me Tender"
"Summerwine"
"Quand je t'aime"
"Rain and Tears"
"It's Five O'Clock"
"On écrit sur les murs"
Related topics
Aphrodite's Child
Vangelis
Blade Runner soundtrack
[show]
v
t
e
Take That
Gary Barlow
Howard Donald
Mark Owen
Jason Orange
Robbie Williams
Studio albums
Take That & Party (1992)
Everything Changes (1993)
Nobody Else (1995)
Beautiful World (2006)
The Circus (2008)
Progress (2010)
III (2014)
Wonderland (2017)
Other albums
The Greatest Day – Take That Present: The Circus Live (2009)
Progressed (2011)
Progress Live (2011)
Compilation albums
Take That: Greatest Hits (1996)
The Best of Take That (2001)
Forever... Greatest Hits (2002)
Never Forget – The Ultimate Collection (2005)
The Platinum Collection (2006)
Singles
"Do What U Like"
"Promises"
"Once You've Tasted Love"
"It Only Takes a Minute"
"I Found Heaven"
"A Million Love Songs"
"Could It Be Magic"
"Why Can't I Wake Up with You"
"Pray"
"Relight My Fire"
"Babe"
"Everything Changes"
"Love Ain't Here Anymore"
"Sure"
"Back for Good"
"Never Forget"
"How Deep Is Your Love"
"Patience"
"Shine"
"I'd Wait for Life"
"Reach Out"
"Rule the World"
"Greatest Day"
"Up All Night"
"The Garden"
"Said It All"
"Hold Up a Light"
"The Flood"
"Kidz"
"Happy Now"
"Love Love"
"When We Were Young"
"These Days"
"Let in the Sun"
"Higher Than Higher"
"Hey Boy"
"Cry"
"Giants"
Tours
Party Tour
Everything Changes Tour
Pops Tour
Nobody Else Tour
The Ultimate Tour
Beautiful World Tour 2007
Take That Present: The Circus Live
Progress Live
Take That Live
Wonderland Live
Television
Take That: For the Record
Take That's Countdown to Midnight
Theatre
Never Forget: The Musical
The Band
Related articles
Discography
Songs
Nigel Martin-Smith
John Shanks
Stuart Price
SingStar Take That
Retrieved from "https://en.wikipedia.org/w/index.php?title=How_Deep_Is_Your_Love_(Bee_Gees_song)&oldid=818701002"
Categories:
1977 singles
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2004 singles
Bee Gees songs
Demis Roussos songs
Take That songs
Billboard Hot 100 number-one singles
Billboard Adult Contemporary number-one singles
UK Singles Chart number-one singles
Irish Singles Chart number-one singles
Number-one singles in Italy
Songs from Saturday Night Fever
Music videos directed by Bruce Gowers
Songs written by Barry Gibb
Songs written by Maurice Gibb
Songs written by Robin Gibb
RSO Records singles
Polydor Records singles
Pop ballads
Songs involved in plagiarism controversies
1977 songs
Hidden categories:
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Madonna (art)
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The Virgin and Child or The Madonna of the Book by Sandro Botticelli, 1480.
Our Mother of Perpetual Help, Icon of the Virgin Mary, 16th century. St. Catherine's Monastery in the Sinai.
The Salus Populi Romani icon, overpainted in the 13th century, but going back to an underlying original dated to the 5th or 6th century.
Madonna and Child by Filippo Lippi (15th century)
A Madonna (Italian: [maˈdɔnna]) is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches.[1] The word is from Italian ma donna, meaning 'my lady'. The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.
The term Madonna in the sense of "picture or statue of the Virgin Mary" enters English usage in the 17th century, primarily in reference to works of the Italian Renaissance. In an Eastern Orthodox context, such images are typically known as Theotokos. "Madonna" may be generally used of representations of Mary, with or without the infant Jesus, is the focus and central figure of the image, possibly flanked or surrounded by angels or saints. Other types of Marian imagery have a narrative context, depicting scenes from the Life of the Virgin, e.g. the Annunciation to Mary, are not typically called "Madonna".
The earliest depictions of Mary date still to Early Christianity (2nd to 3rd centuries), found in the Catacombs of Rome.[2] These are in a narrative context. The classical "Madonna" or "Theotokos" imagery develops from the 5th century, as Marian devotion rose to great importance after the Council of Ephesus formally affirmed her status as "Mother of God or Theotokos ("God-bearer") in 431.[3] The Theotokos iconography as it developed in the 6th to 8th century rose to great importance in the high medieval period (12th to 14th centuries) both in the Eastern Orthodox and in the Latin spheres. According to a tradition recorded in the 8th century, Marian iconography goes back to a portrait drawn from life by Luke the Evangelist, with a number of icons (such as the Panagia Portaitissa) claimed to either represent this original icon or to be a direct copy of it. In the Western tradition, depictions of the Madonna were greatly diversified by Renaissance masters such as Duccio, Leonardo da Vinci, Michelangelo, Raphael, Giovanni Bellini, Caravaggio and Rubens (and further by certain modernists, such as Salvador Dalí and Henry Moore) while Eastern Orthodox iconography adheres more closely to the inherited traditional types.
Contents
[hide]
1 Terminology
2 Modes of representation
3 History
3.1 Early images
3.2 Byzantine influence on the West
3.3 Later medieval period
3.4 Renaissance
3.5 Modern images
4 Islamic view
5 Notable types and individual works
5.1 Paintings
5.2 Statues
5.3 Manuscripts and covers
6 See also
7 References
8 External links
Terminology[edit]
Further information: Theotokos § Terminology
Further information: Titles of Mary and Queen of Heaven
Liturgy depicting Mary as powerful intercessor (such as the Akathist) was brought from Greek into Latin tradition in the 8th century. The Greek title of Δεσποινα (Despoina) was adopted as Latin Domina "Lady". The medieval Italian Ma Donna pronounced [maˈdɔnna] ("My Lady") reflects Mea Domina, while Nostra Domina (δεσποινίς ἡμῶν) was adopted in French, as Nostre Dame "Our Lady".[4]
These names signal both the increased importance of the cult of the virgin and the prominence of art in service to Marian devotion during the late medieval period. During the 13th century, especially,[citation needed] with the increasing influence of chivalry and aristocratic culture on poetry, song and the visual arts, the Madonna is represented as the queen of Heaven, often enthroned. Madonna was meant more to remind people of the theological concept which is placing such a high value on purity or virginity. This is also represented by the color of her clothing. The color blue symbolized purity, virginity, and royalty.[citation needed]
While the Italian term Madonna paralleled English Our Lady in late medieval Marian devotion, it was imported as an art historical term into English usage in the 1640s, designating specifically the Marian art of the Italian Renaissance. In this sense, "a Madonna", or "a Madonna with Child" is used of specific works of art, historically mostly of Italian works. A "Madonna" may alternatively be called "Virgin" or "Our Lady", but "Madonna" is not typically applied to eastern works; e.g. the Theotokos of Vladimir may in English be called "Our Lady of Vladimir", while it is less usual, but not unheard of, to refer to it as the "Madonna of Vladimir".[5]
Modes of representation[edit]
There are several distinct types of representation of the Madonna.
One type of Madonna shows Mary alone (without the child Jesus), and standing, generally glorified and with a gesture of prayer, benediction or prophesy. This type of image occurs in a number of ancient apsidal mosaics.
Full-length standing images of the Madonna more frequently include the infant Jesus, who turns towards the viewer or raises his hand in benediction. The most famous Byzantine image, the Hodegetria was originally of this type, though most copies are at half-length. This type of image occurs frequently in sculpture and may be found in fragile ivory carvings, in limestone on the central door posts of many cathedrals, and in polychrome wooden or plaster casts in almost every Catholic Church. There are a number of famous paintings that depict the Madonna in this manner, notably the Sistine Madonna by Raphael.
The Madonna enthroned is a type of image that dates from the Byzantine period and was used widely in Medieval and Renaissance times. These representations of the Madonna and Child often take the form of large altarpieces. They also occur as frescoes and apsidal mosaics. In Medieval examples the Madonna is often accompanied by angels who support the throne, or by rows of saints. In Renaissance painting, particularly High Renaissance painting, the saints may be grouped informally in a type of composition known as a Sacra conversazione.
The Madonna of humility refers to portrayals in which the Madonna is sitting on the ground, or sitting upon a low cushion. She may be holding the Child Jesus in her lap.[6] This style was a product of Franciscan piety,[7][8] and perhaps due to Simone Martini. It spread quickly through Italy and by 1375 examples began to appear in Spain, France and Germany. It was the most popular among the styles of the early Trecento artistic period.[9]
Half-length Madonnas are the form most frequently taken by painted icons of the Eastern Orthodox Church, where the subject matter is highly formulated so that each painting expresses one particular attribute of the "Mother of God". Half-length paintings of the Madonna and Child are also common in Italian Renaissance painting, particularly in Venice.
The seated Madonna and Child is a style of image that became particularly popular during the 15th century in Florence and was imitated elsewhere. These representations are usually of a small size suitable for a small altar or domestic use. They usually show Mary holding the infant Jesus in an informal and maternal manner. These paintings often include symbolic reference to the Passion of Christ.
The Adoring Madonna is a type popular during the Renaissance. These images, usually small and intended for personal devotion, show Mary kneeling in adoration of the Christ Child. Many such images were produced in glazed terracotta as well as paint.
The nursing Madonna refers to portrayals of the Madonna breastfeeding the infant Jesus.
History[edit]
Painting of the Madonna and Child by an anonymous Italian, first half of 19th century
The earliest representation of the Madonna and Child may be the wall painting in the Catacomb of Priscilla, Rome, in which the seated Madonna suckles the Child, who turns his head to gaze at the spectator.[10]
The earliest consistent representations of Mother and Child were developed in the Eastern Empire, where despite an iconoclastic strain in culture that rejected physical representations as "idols", respect for venerated images was expressed in the repetition of a narrow range of highly conventionalized types, the repeated images familiar as icons (Greek "image"). On a visit to Constantinople in 536, Pope Agapetus was accused of being opposed to the veneration of the theotokos and to the portrayal of her image in churches.[11] Eastern examples show the Madonna enthroned, even wearing the closed Byzantine pearl-encrusted crown with pendants, with the Christ Child on her lap.[12]
In the West, hieratic Byzantine models were closely followed in the Early Middle Ages, but with the increased importance of the cult of the Virgin in the 12th and 13th centuries a wide variety of types developed to satisfy a flood of more intensely personal forms of piety. In the usual Gothic and Renaissance formulas the Virgin Mary sits with the Infant Jesus on her lap, or enfolded in her arms. In earlier representations the Virgin is enthroned, and the Child may be fully aware, raising his hand to offer blessing. In a 15th-century Italian variation, a baby John the Baptist looks on.
Late Gothic sculptures of the Virgin and Child may show a standing virgin with the child in her arms. Iconography varies between public images and private images supplied on a smaller scale and meant for personal devotion in the chamber: the Virgin suckling the Child (such as the Madonna Litta) is an image largely confined to private devotional icons.
Early images[edit]
Icon of the enthroned Virgin and Child with saints and angels, and the Hand of God above, 6th century, Saint Catherine's Monastery, perhaps the earliest iconic image of the subject to survive.
There was a great expansion of the cult of Mary after the Council of Ephesus in 431, when her status as Theotokos ("God-bearer") was confirmed; this had been a subject of some controversy until then, though mainly for reasons to do with arguments over the nature of Christ. In mosaics in Santa Maria Maggiore in Rome, dating from 432-40, just after the council, she is not yet shown with a halo, and she is also not shown in Nativity scenes at this date, though she is included in the Adoration of the Magi.
By the next century the iconic depiction of the Virgin enthroned carrying the infant Christ was established, as in the example from the only group of icons surviving from this period, at Saint Catherine's Monastery in Egypt. This type of depiction, with subtly changing differences of emphasis, has remained the mainstay of depictions of Mary to the present day. The image at Mount Sinai succeeds in combining two aspects of Mary described in the Magnificat, her humility and her exaltation above other humans, and has the Hand of God above, up to which the archangels look. An early icon of the Virgin as queen is in the church of Santa Maria in Trastevere in Rome, datable to 705-707 by the kneeling figure of Pope John VII, a notable promoter of the cult of the Virgin, to whom the infant Christ reaches his hand. This type was long confined to Rome. The roughly half-dozen varied icons of the Virgin and Child in Rome from the 6th - 8th century form the majority of the representations surviving from this period; "isolated images of the Madonna and Child ... are so common ... to the present day in Catholic and Orthodox tradition, that it is difficult to recover a sense of the novelty of such images in the early Middle Ages, at least in western Europe".[13]
At this period the iconography of the Nativity was taking the form, centred on Mary, that it has retained up to the present day in Eastern Orthodoxy, and on which Western depictions remained based until the High Middle Ages. Other narrative scenes for Byzantine cycles on the Life of the Virgin were being evolved, relying on apocyphal sources to fill in her life before the Annunciation to Mary. By this time the political and economic collapse of the Western Roman Empire meant that the Western, Latin, church was unable to compete in the development of such sophisticated iconography, and relied heavily on Byzantine developments.
The earliest surviving image in a Western illuminated manuscript of the Madonna and Child comes from the Book of Kells of about 800 (there is a similar carved image on the lid of St Cuthbert's coffin of 698) and, though magnificently decorated in the style of Insular art, the drawing of the figures can only be described as rather crude compared to Byzantine work of the period. This was in fact an unusual inclusion in a Gospel book, and images of the Virgin were slow to appear in large numbers in manuscript art until the book of hours was devised in the 13th century.
The Madonna of humility by Domenico di Bartolo, 1433, is considered one of the most innovative devotional images from the early Renaissance.[14]
Byzantine influence on the West[edit]
13th century Madonna with Child in the Italo-Byzantine style.
Very few early images of the Virgin Mary survive, though the depiction of the Madonna has roots in ancient pictorial and sculptural traditions that informed the earliest Christian communities throughout Europe, Northern Africa and the Middle East. Important to Italian tradition are Byzantine icons, especially those created in Constantinople (Istanbul), the capital of the longest, enduring medieval civilization whose icons participated in civic life and were celebrated for their miraculous properties. Byzantium (324-1453) saw itself as the true Rome, if Greek-speaking, Christian empire with colonies of Italians living among its citizens, participating in Crusades at the borders of its land, and ultimately, plundering its churches, palaces and monasteries of many of its treasures. Later in the Middle Ages, the Cretan school was the main source of icons for the West, and the artists there could adapt their style to Western iconography when required.
While theft is one way that Byzantine images made their way West to Italy, the relationship between Byzantine icons and Italian images of the Madonna is far more rich and complicated. Byzantine art played a long, critical role in Western Europe, especially when Byzantine territories included parts of Eastern Europe, Greece and much of Italy itself. Byzantine manuscripts, ivories, gold, silver and luxurious textiles were distributed throughout the West. In Byzantium, Mary's usual title was the Theotokos or Mother of God, rather than the Virgin Mary and it was believed that salvation was delivered to the faithful at the moment of God's incarnation. That theological concept takes pictorial form in the image of Mary holding her infant son.
However, what is most relevant to the Byzantine heritage of the Madonna is twofold. First, the earliest surviving independent images of the Virgin Mary are found in Rome, the center of Christianity in the medieval West. One is a valued possession of Santa Maria in Trastevere, one of the many Roman churches dedicated to the Virgin Mary. Another, a splintered, repainted ghost of its former self, is venerated at the Pantheon, that great architectural wonder of the Ancient Roman Empire, that was rededicated to Mary as an expression of the Church's triumph. Both evoke Byzantine tradition in terms of their medium, that is, the technique and materials of the paintings, in that they were originally painted in tempera (egg yolk and ground pigments) on wooden panels. In this respect, they share the Ancient Roman heritage of Byzantine icons. Second, they share iconography, or subject matter. Each image stresses the maternal role that Mary plays, representing her in relationship to her infant son. It is difficult to gauge the dates of the cluster of these earlier images, however, they seem to be primarily works of the 7th and 8th centuries.
Later medieval period[edit]
The Rest on The Flight into Egypt, c. 1510,[15] by Gerard David depicts a close, intimate moment of tenderness where she only has eyes for the Child.
It was not until the revival of monumental panel painting in Italy during the 12th and 13th centuries, that the image of the Madonna gains prominence outside of Rome, especially throughout Tuscany. While members of the mendicant orders of the Franciscan and Dominican Orders are some of the first to commission panels representing this subject matter, such works quickly became popular in monasteries, parish churches, and homes. Some images of the Madonna were paid for by lay organizations called confraternities, who met to sing praises of the Virgin in chapels found within the newly reconstructed, spacious churches that were sometimes dedicated to her. Paying for such a work might also be seen as a form of devotion. Its expense registers in the use of thin sheets of real gold leaf in all parts of the panel that are not covered with paint, a visual analogue not only to the costly sheaths that medieval goldsmiths used to decorate altars, but also a means of surrounding the image of the Madonna with illumination from oil lamps and candles. Even more precious is the bright blue mantle colored with lapis lazuli, a stone imported from Afghanistan.
This is the case of one of the most famous, innovative and monumental works that Duccio executed for the Laudesi at Santa Maria Novella in Florence. Often the scale of the work indicates a great deal about its original function. Often referred to as the Rucellia Madonna (c. 1285), the panel painting towers over the spectator, offering a visual focus for members of the Laudesi confraternity to gather before it as they sang praises to the image. Duccio made an even grander image of the Madonna enthroned for the high altar of the cathedral of Siena, his home town. Known as the Maesta (1308–11), the image represents the pair as the center of a densely populated court in the central part of a complexly carpentered work that lifts the court upon a predella (pedestal of altarpiece) of narrative scenes and standing figures of prophets and saints. In turn, a modestly scaled image of the Madonna as a half-length figure holding her son in a memorably intimate depiction, is to be found in the National Gallery of London. This is clearly made for the private devotion of a Christian wealthy enough to hire one of the most important Italian artists of his day.
Lorenzo Monaco, Florence, c.1410
The privileged owner need not go to Church to say his prayers or plead for salvation; all he or she had to do was open the shutters of the tabernacle in an act of private revelation. Duccio and his contemporaries inherited early pictorial conventions that were maintained, in part, to tie their own works to the authority of tradition.
Despite all of the innovations of painters of the Madonna during the 13th and 14th centuries, Mary can usually be recognized by virtue of her attire. Customarily when she is represented as a youthful mother of her newborn child, she wears a deeply saturated blue mantle over a red garment. This mantle typically covers her head, where sometimes, one might see a linen, or later, transparent silk veil. She holds the Christ Child, or Baby Jesus, who shares her halo as well as her regal bearing. Often her gaze is directed out at the viewer, serving as an intercessor, or conduit for prayers that flow from the Christian, to her, and only then, to her son. However, late medieval Italian artists also followed the trends of Byzantine icon painting, developing their own methods of depicting the Madonna. Sometimes, the Madonna's complex bond with her tiny child takes the form of a close, intimate moment of tenderness steeped in sorrow where she only has eyes for him.
While the focus of this entry currently stresses the depiction of the Madonna in panel painting, it should be noted that her image also appears in mural decoration, whether mosaics or fresco painting on the exteriors and interior of sacred buildings. She is found high above the apse, or east end of the church where the liturgy is celebrated in the West. She is also found in sculpted form, whether small ivories for private devotion, or large sculptural reliefs and free-standing sculpture. As a participant in sacred drama, her image inspires one of the most important fresco cycles in all of Italian painting: Giotto's narrative cycle in the Arena Chapel, next to the Scrovegni family's palace in Padua. This program dates to the first decade of the 14th century.
Italian artists of the 15th century onward are indebted to traditions established in the 13th and 14th centuries in their representation of the Madonna.
Renaissance[edit]
The Madonna on a Crescent Moon in Hortus Conclusus by an anonymous painter.
Leonardo da Vinci, a study of the Head of Madonna, c. 1484 AD.
While the 15th and 16th centuries were a time when Italian painters expanded their repertoire to include historical events, independent portraits and mythological subject matter, Christianity retained a strong hold on their careers. Most works of art from this era are sacred. While the range of religious subject matter included subjects from the Old Testament and images of saints whose cults date after the codification of the Bible, the Madonna remained a dominant subject in the iconography of the Renaissance.
Some of the most eminent 16th-century Italian painters to turn to this subject were Leonardo da Vinci, Michelangelo and Raphael, Giorgione, Giovanni Bellini and Titian. They developed on the foundations of 15th century Marian images by Fra Angelico, Fra Filippo Lippi, Mantegna and Piero della Francesca in particular, among countless others. The subject was equally popular in Early Netherlandish painting and that of the rest of Northern Europe.
The subject retaining the greatest power on all of these men remained the maternal bond, even though other subjects, especially the Annunciation, and later the Immaculate Conception, led to a greater number of paintings that represented Mary alone, without her son. As a commemorative image, the Pietà became an important subject, newly freed from its former role in narrative cycles, in part, an outgrowth of popular devotional statues in Northern Europe. Traditionally, Mary is depicted expressing compassion, grief and love, usually in highly charged, emotional works of art even though the most famous, early work by Michelangelo stifles signs of mourning. The tenderness an ordinary mother might feel towards her beloved child is captured, evoking the moment when she first held her infant son Christ. The spectator, after all, is meant to sympathize, to share in the despair of the mother who holds the body of her crucified son.
Modern images[edit]
Virgin of the Lilies, Bouguereau, 1899
In some European countries, such as Germany, Italy and Poland sculptures of the Madonna are found on the outside of city houses and buildings, or along the roads in small enclosures.
In Germany, such a statue placed on the outside of a building is called a Hausmadonna. Some date back to the Middle Ages, while some are still being made today. Usually found on the level of the second floor or higher, and often on the corner of a house, such sculptures were found in great numbers in many cities; Mainz, for instance, was supposed to have had more than 200 of them before World War II.[16]≈ The variety in such statues is as great as in other Madonna images; one finds Madonnas holding grapes (in reference to the Song of Songs 1:14, translated as "My lover is to me a cluster of henna blossoms" in the NIV), "immaculate" Madonnas in pure, perfect white without child or accessories, and Madonnas with roses symbolizing her life determined by the mysteries of faith.[17]
In Italy, the roadside Madonna is a common sight both on the side of buildings and along roads in small enclosures. These are expected to bring spiritual relief to people who pass them.[18] Some Madonnas statues are placed around Italian towns and villages as a matter of protection, or as a commemoration of a reported miracle.[19]
In the 1920s, the Daughters of the American Revolution placed statues called the Madonna of the Trail from coast to coast, marking the path of the old National Road and the Santa Fe Trail.[20]
Islamic view[edit]
Mary and Jesus in a Persian miniature
The first important encounter between Islam and the image of the Madonna is said to have happened during the Prophet Muhammad's conquest of Mecca. At the culmination of his mission, in 629 CE, Muhammad conquered Mecca with a Muslim army, with his first action being the "cleansing" or "purifying" of the Kaaba, wherein he removed all the pre-Islamic pagan images and idols from inside the temple.According to reports collected by Ibn Ishaq and al-Azraqi, Muhammad did, however, protectively put his hand over a painting of Mary and Jesus, and a fresco of Abraham in order to keep them from being effaced.[21][22] In the words of the historian Barnaby Rogerson, "Muhammad raised his hand to protect an icon of the Virgin and Child and a painting of Abraham, but otherwise his companions cleared the interior of its clutter of votive treasures, cult implements, statuettes and hanging charms."[23] The Islamic scholar Martin Lings narrated the event thus in his biography of the Prophet: "Christians sometimes came to do honour to the Sanctuary of Abraham, and they were made welcome like all the rest. Moreover one Christian had been allowed and even encouraged to paint an icon of the Virgin Mary and the child Christ on an inside wall of the Ka'bah, where it sharply contrasted with all the other paintings. But Quraysh were more or less insensitive to this contrast: for them it was simply a question of increasing the multitude of idols by another two; and it was partly their tolerance that made them so impenetrable .... Apart from the icon of the Virgin Mary and the child Jesus, and a painting of an old man, said to be Abraham, the walls inside had been covered with pictures of pagan deities. Placing his hand protectively over the icon, the Prophet told Uthman to see that all the other paintings, except that of Abraham, were effaced."[24]
Notable types and individual works[edit]
Black Madonna of Częstochowa, Poland.
There are a large number of articles on individual works of various sorts in Category:Virgin Mary in art and its sub-category. See also the incomplete List of depictions of the Virgin and Child. The term "Madonna" is sometimes used to refer to representations of Mary that were not created by Italians. A small selection of examples include:
Golden Madonna of Essen, the earliest large-scale sculptural example in Western Europe and a precedent for the polychrome wooden processional sculptures of Romanesque France, a type known as Throne of Wisdom.
Madonna of humility depicting a Madonna sitting on the ground, or low cushions
Madonna and Child, a painting by Duccio di Buoninsegna, from around the year 1300.
The Black Madonna of Częstochowa (Czarna Madonna or Matka Boska Częstochowska in Polish) icon, which was, according to legend, painted by St. Luke the Evangelist on a cypress table top from the house of the Holy Family.
Madonna and Child with Flowers, possibly one of two works begun by the artist.
Madonna Eleusa (of tenderness) has been depicted both in the Eastern and Western churches.
Madonna of the Steps, a relief by Michelangelo.
Madonna della seggiola, by Raphael
Madonna with the Long Neck, by Parmigianino.
The Madonna of Port Lligat, the name of two paintings by Salvador Dalí created in 1949 and 1950.
Paintings[edit]
Madonna in Art
Madonna and Angels, Duccio, 1282
Our Mother of Perpetual Help, probably an early Cretan work, 13th or 14th century. A very popular Catholic image, which was certainly in Rome by 1499.
Madonna in the rose-garden, by Stefan Lochner 1448
Madonna and Child Surrounded by Angels by Quentin Matsys
Madonna of Chancellor Rolin, Jan van Eyck, Burgundy, c. 1435
Madonna del Granduca, Raphael, 1505
Madonna of the Pinks, Raphael, probably before 1507
Maria Hilf by Lucas Cranach the Elder, c. 1530
Virgin Mary by Sassoferrato, 17th century. Lobkowicz Palace, Prague, Czech Republic.
Virgin and Child with Angels and Saints, Felice Torelli, 17th century
Madonna in Mandorla, Wolfgang Sauber, 12th century
Statues[edit]
Golden Madonna ofEssen, c. 980
Presbyter Martinus: Madonna as Seat of Wisdom, Italy, 1199
Black Madonna, Barcelona
Madonna on the tomb of Raphael, Pantheon, Rome
Madonna from Holy Week procession in Seville
Statue outside Moscow's New Tretyakov Gallery
Statue Notre-Dame Cathedral Basilica, Ottawa, Ontario, Canada
A roadside Madonna in Ocieka, Poland.
A roadside Madonna alcove in Friuli, Italy.
La Conquistadora, Santa Fe, New Mexico, pre 1625
Madonna of the Trail
Manuscripts and covers[edit]
An ivory cover of the Codex Aureus of Lorsch, Germany, c. 800
Svanhild Evangeliary, an Illuminated manuscript from Essen, 1058-1085.
See also[edit]
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References[edit]
Jump up ^ Doniger, Wendy, Merriam-Webster's encyclopedia of world religions, 1999, ISBN 0-87779-044-2 page 696.
Jump up ^ Mary in Western Art by Timothy Verdon, Filippo Rossi 2005 ISBN 0-9712981-9-X page 11
Jump up ^ Burke, Raymond, Mariology: A Guide for Priests, Deacons, Seminarians, and Consecrated Persons 2008 ISBN 1-57918-355-7 page
Jump up ^ Johannes Schneider, Virgo Ecclesia Facta, 2004, p. 74. Michael O'Carroll, Theotokos: A Theological Encyclopedia of the Blessed Virgin Mary, 2000, p. 127.
Jump up ^ "Madonna of Vladimir" e.g. in Hans Belting, Edmund Jephcott; Edmund Jephcott (trans.) Likeness and Presence: A History of the Image Before the Era of Art, University of Chicago Press, 1996, p. 289.
Jump up ^ Renaissance art: a topical dictionary by Irene Earls 1987 ISBN 0-313-24658-0 page 174
Jump up ^ A history of ideas and images in Italian art by James Hall 1983 ISBN 0-06-433317-5 page 223
Jump up ^ Iconography of Christian Art by Gertrud Schiller 1971 ASIN: B0023VMZMA page 112
Jump up ^ Painting in Florence and Siena after the Black Death by Millard Meiss 1979 ISBN 0-691-00312-2 pages 132-133
Jump up ^ Victor Lasareff, "Studies in the Iconography of the Virgin" The Art Bulletin 20.1 (March 1938, pp. 26-65) p 27f.
Jump up ^ m. Mundell, "Monophysite church decoration" Iconoclasm (Birmingham) 1977, p 72.
Jump up ^ As in the fresco fragments of the lower Basilica di San Clemente, Rome: see John L. Osborne, "Early Medieval Painting in San Clemente, Rome: The Madonna and Child in the Niche" Gesta 20.2 (1981), pp. 299-310.
Jump up ^ Nees, Lawrence. Early medieval art, 143-145, quote 144, Oxford University Press, 2002, ISBN 0-19-284243-9, ISBN 978-0-19-284243-5
Jump up ^ Art and music in the early modern period by Franca Trinchieri Camiz, Katherine A. McIver ISBN 0-7546-0689-9 page 15 [1]
Jump up ^ National Gallery of Art, Washington D.C.
Jump up ^ Wöhrlin, Annette; Luzie Bratner; Marlene Höbel; Hiltraud Laubach; Anne-Madeleine Plum (2008). Mainzer Hausmadonnen. Ingelheim: Leinpfad. ISBN 978-3-937782-70-6.
Jump up ^ Anne-Madeleine Plum, "Kreuzzepter-Madonna--Zypertraube ind fruchtbringende Rede" and "Maria, Geheimnisvolle Rose", in Wöhrlin, Mainzer Hausmadonnen, 49-54 and 55-57.
Jump up ^ Thomas Singer, 2004 The cultural complex ISBN 1-58391-913-9 page 68
Jump up ^ Mark Pearson, 2006 Italy from a Backpack ISBN 0-9743552-4-0 page 219
Jump up ^ Madonna of the Trail
Jump up ^ Guillaume, Alfred (1955). The Life of Muhammad. A translation of Ishaq's "Sirat Rasul Allah". Oxford University Press. p. 552. ISBN 978-0196360331. Retrieved 2011-12-08. Quraysh had put pictures in the Ka'ba including two of Jesus son of Mary and Mary (on both of whom be peace!). ... The apostle ordered that the pictures should be erased except those of Jesus and Mary.
Jump up ^ Ellenbogen, Josh; Tugendhaft, Aaron (18 July 2011). Idol Anxiety. Stanford University Press. p. 47. ISBN 9780804781817. When Muhammad ordered his men to cleanse the Kaaba of the statues and pictures displayed there, he spared the paintings of the Virgin and Child and of Abraham.
Jump up ^ Rogerson, Barnaby (2003). The Prophet Muhammad: A Biography. Paulist Press. p. 190. ISBN 9781587680298.
Jump up ^ Martin Lings, Muhammad: His Life Based on the Earliest Source (Rochester: Inner Traditions, 1987), pp. 17, 300.
External links[edit]
Wikimedia Commons has media related to Virgin Mary.
Wikimedia Commons has media related to Depictions of the Virgin Mary.
Wikimedia Commons has media related to Madonna and Child.
Metropolitan Museum: The Virgin Mary in the Middle Ages
The Madonna in Art at Project Gutenberg by Estelle M. Hurll (First printed 1897)
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Madona – Czech
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Madonna – Estonian
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Madona – Portuguese
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