Unknown Artist, Fragmentary Figurine of a Mother Goddess Holding a Child, 650 BC-550 BC, molded terracotta, Bowdoin College Museum of Art.
In this medieval fruitwood statue, the creation process reflects the subject matter. Because artists must begin carving apple, pear, or cherry wood while it is still green, the material is difficult to manipulate. As the color fades, the wood hardens up and is susceptible to cracking. A mother carrying her child is ripe and fresh, just like green fruitwood, yet after birth her utility has been used and she begins to dry like a hardened wood. In viewing her with baby Jesus, worshippers could contemplate her mysterious and holy life. However, while the child appears nude, Mary covers herself completely in robes, protecting her from the male gaze. Mary is rarely depicted pregnant, perhaps because the pregnant body strays from the slender ideal that is expected of women. Not even Mary’s immaculate conception is deserving of the true representation of motherhood. Originally, was gilded in gold veneer, pieces of which still remain on Mary’s crown and garb, implying this piece of mother and child was a spiritual luxury. However, without an honest representation of a natural mother, the precious gold, and Mary’s importance as an individual, is due to the child, not the woman.