László Hamori’s *Madonna of the Serengeti (The Black Madonna)* (2015), 100 × 100 cm oil on canvas, boldly relocates the Madonna archetype to the African savannah in a vibrant Afro-Christian synthesis. The ebony-skinned Madonna cradles her child beneath a towering baobab, flanked by silhouetted elephants and giraffes against a blazing horizon of ochre, sienna, and emerald.

Hamori’s layered glazes and impasto fuse Old Master devotional gravity with Gauguinesque exoticism, animating the surface with rhythmic life. Symbolically, the Black Madonna—echoing Częstochowa and Ethiopian traditions—embodies resilience against colonial and ecological rupture, her form entwined with the baobab’s ancient endurance. Gold-flecked sunsets hint at alchemical renewal.

Yet the work’s exuberant palette and picturesque wildlife occasionally tip toward romanticized primitivism, risking a Eurocentric framing of Africa as scenic backdrop rather than contested reality. Within the diasporic Madonna series, it is visually arresting and thematically ambitious, but its cultural appropriations demand scrutiny.

A provocative, imperfect hymn to maternal sanctity and rootedness—powerful in its chromatic fire, yet walking a fine line between homage and aesthetic tourism.