A detail of a painting of Christ and the Virgin by the Master of Flémalle, the first great master of Flemish and Early Netherlandish painting.
Mary is depicted in prayer, a sign of the interceding power she has with her Son.
Mary as the Mater Dolorosa, by Paolo de San Leocadio.
The Madonna delle Pere, a 15th century work attributed to the painter Paolo di Ciacio from Mileto in Italy.
Master of the Collins Hours - Le Sacerdoce de la Vierge (The Priesthood of the Virgin); 1438; Musee Louvre.
Note how the Virgin is dressed in the vestments of the Jewish high priest— she is clearly wearing the ephod in this picture. The painting is meant to convey how the Virgin leads the faithful to Christ— how she makes Him present in this world, which is doubly meaningful on account of her divine maternity. It is Christ alone who leads us to heaven, but such has been the great favor bestowed on her by heaven that her intercession has come to be seen as nothing short of having a quasi-sacerdotal significance.
The Apotheosis of the Virgin Mary with Prophets and Sybille, painted by Ambrosius Benson (1530-1532).
Infinitas Gracias: Mexican miracle paintings
From 06.10.2011 until 26.02.2012 at the Wellcome Collection in London, UK
Mexican votives are small paintings, usually executed on tin roof tiles or small plaques, depicting the moment of personal humility when an individual asks a saint for help and is delivered from disaster and sometimes death.
'Infinitas Gracias' will feature over 100 votive paintings drawn from five collections held by museums in and around Mexico City and two sanctuaries located in mining communities in the Bajío region to the north: the city of Guanajuato and the distant mountain town of Real de Catorce.
Together with images, news reports, photographs, devotional artefacts, film and interviews, the exhibition will illustrate the depth of the votive tradition in Mexico.