Madonna description. "Sistine Madonna" by Raphael
Raphael's Sistine Madonna captivated the whole world. The talent of the best painter of the High Renaissance, Raphael Santi, made it possible to create a picture that attracts, evokes a range of feelings and amazes with its liveliness. The canvas is more than five hundred years old, but the technique of execution is so high that it is perceived as a 3D image. And, when you stand in front of the painting, it seems that Madonna is about to step towards you.
The picture arouses genuine interest. Since the “Sistine Madonna” entered the collection of the Saxon electors in 1754 and was placed in, the painting has been seen by millions of people.
Description of the painting and the magic of perception
The canvas, not very large in size, 256 cm x 196 cm, somehow magically holds the viewer’s attention. Experts say that this is a special dynamic circle that controls the gaze of a person looking at the picture.
The viewer peers at the image of the Mother of God with the baby in her arms, then his gaze moves to the golden robes of St. Sixtus, and, most importantly, his hand. Saint Sixtus extends his hand towards the viewer, as if including him in the composition. And the viewer involuntarily follows the gaze of the saint, again directing attention to the Madonna and the baby.
Next, the gaze slides to the image of St. Barbara, as the “chemistry” of perception of a similar color scheme of clothing is connected. Saint Barbara looks down, inviting you to follow her gaze to the sweet angels. But when the viewer’s eyes stop at the pair of cherubs at the bottom of the picture, who directed all their attention upward, they invariably continue to move towards the upper center of the canvas - to the image of Mary and the Child.
This is how modern science breaks down the magic of Raphael’s painting into its components. It is possible that the gaze of most viewers glides across the picture in exactly this way. There are always more visitors in the hall where the painting is shown than in other halls. An inexperienced visitor simply looks at the picture and absorbs the message that comes from the composition. Connoisseurs are especially biased. They are interested in both the general perception of the composition and the details.
From my experience I will say that Raphael’s “Madonna” has a multifaceted effect. The pictorial canvas holds when viewed directly. I want to take a closer look, but questions also arise... Who did the author paint the beautiful image from?.. How did it happen that the best work of Raphael - the main artist of the Vatican - was kept in the church of the small town of Piacenza?.. And why did Augustus III acquire this particular painting for his collection, while Raphael Santi dedicated many works to the Madonna and Child?..
The history of the creation of the painting Sistine Madonna
Some researchers suggest that Raphael created this masterpiece for St. Peter's Cathedral in Rome. The order came from Pope Julius II. A place was also provided for the painting - in the chapel where Pope Sixtus IV was buried. But during the reconstruction of the temple, Sixtus IV was reburied, and church canons did not allow the magnificent painting to be moved to the altar.
In the main church of the Vatican, these canons were strictly observed, but on the periphery, which included the city of Piacenza, such rules were not so adherent. Therefore, Raphael’s painting was moved to the Church of St. Sixtus at the monastery in Piacenza.
The work of the famous Italian painter haunted the Saxon Elector Augustus III, who wished to supplement his collection with the image of the Madonna by Raphael. Augustus III looked at the painting “Madonna of Foligno”, which the author painted a year earlier - in 1511-12.
This painting was in the Vatican, and the Pope opposed the trade. During lengthy negotiations, interest shifted to the painting “The Sistine Madonna,” and the head of the Roman Catholic Church relented. Moreover, restoration began in the Piacenza temple.
This is how the masterpiece ended up in Germany, and since the middle of the 19th century, the permanent location of the painting has been the Gallery of Old Masters in.
For modern visitors it is important to know where exactly Raphael's Sistine Madonna is located. This is the second floor (in our understanding, not the European one), where paintings belonging to the High Renaissance are exhibited.
And yet, who was given the honor of posing for Raphael when creating the image of Madonna? More and more sources confirm that this is the painter’s secret lover Margarita Luti. The same features as in the image of the Madonna can be seen in the portrait of Fornarina and in the painting of Saint Cecilia.
It is amazing that a brilliant artist, bound by strong ties to the Vatican, did not even have the right to open feelings. His official bride was the Cardinal's niece Maria da Bobbiena. It seems that Rafael Santi did not intend to marry her or paint pictures of her face...
Returning to the painting “The Sistine Madonna”, it should be clarified that the original is located in the Dresden Art Gallery. There are also copies of the painting. In the same city of Piacenza there is a copy created back in 1730 by Pier Antonio Avanzini. And how many more lesser-known copies there are!
Gallery Old Masters on the map of Dresden
Raffaello Santi or Raffaello Sanzio
Italian painter and architect. Graphic, representative of the Umbrian school.
Rafael lost his parents early. The mother, Margie Charla, died in 1491, and the father, Giovanni Santi, died in 1494.
Raphael, the son of the painter Giovanni Santi, spent his early years in Urbino. In 1500-1504, Raphael, according to Vasari, studied with the artist Perugino in Perugia. The works of this period of Raphael's work are marked by subtle poetry and soft lyricism of landscape backgrounds
From 1504, Raphael worked in Florence, where he became acquainted with the works of Leonardo da Vinci and Fra Bartolommeo, and studied anatomy and scientific perspective. Moving to Florence played a huge role in Raphael's creative development. Of primary importance for the artist was familiarity with the method of the great Leonardo da Vinci.
The first order in Florence comes from Agnolo Doni for portraits of him and his wife, the latter painted by Raphael under the obvious impression of La Gioconda. It was for Agnolo Doni that Michelangelo Buonarroti created the tondo “Madonna Doni” at this time.
In Florence, Raphael created about 20 Madonnas. Although the plots are standard: the Madonna either holds the Child in her arms, or he plays next to John the Baptist, all Madonnas are individual and are distinguished by their special maternal charm (apparently, the early death of his mother left a deep mark on Raphael’s soul).
Raphael received an invitation from Pope Julius II to Rome, where he was able to become more familiar with ancient monuments and took part in archaeological excavations.
Having moved to Rome, the 26-year-old master received the position of “artist of the Apostolic See” and the assignment to paint the state rooms of the Vatican Palace, from 1514 he directed the construction of St. Peter’s Cathedral, worked in the field of church and palace architecture, in 1515 he was appointed Commissioner of Antiquities, responsible for the study and protection of ancient monuments, archaeological excavations.
In the last years of his life, Raphael was so overloaded with orders that he entrusted the execution of many of them to his students and assistants (Giulio Romano, Giovanni da Udine, Perino del Vaga, Francesco Penni and others), usually limiting himself to general supervision of the works.
Raphael was also an architect. After Bramante's death, he completed the construction of St. Peter's Basilica in the Vatican. In addition, he built a church, a chapel, and several palazzos in Rome.
Raphael had many students, however, the most famous of them gained fame thanks to his pornographic drawings. Raphael could not tell his secrets to anyone. Later his paintings inspired Rubens, Rembrandt, Manet, Modigliani.
The artist lived for 37 years. It is impossible to say exactly the cause of death. Under one version, due to fever. According to another, because of intemperance, which has become a way of life. On his tomb in the Pantheon there is an epitaph: “Here lies the great Raphael, during whose life nature was afraid of being defeated, and after his death she was afraid to die.”
All his paintings, individually, are masterpieces. But today we will tell you about a painting called “The Sistine Madonna.”
Sistine Madonna
Madonna Sistina
A painting by Raphael, which has been in the Old Masters Gallery in Dresden since 1754. It belongs to the generally recognized peaks of the High Renaissance.
Of all the paintings, Raphael’s most perfect creation was the famous “Sistine Madonna” (1512-1513).
This painting was commissioned by Julius II for the altar of the church of the monastery of St. Sixtus in Piacenza. “The Sistine Madonna is truly symphonic. The interweaving and meeting of lines and masses of this canvas amazes with its internal rhythm and harmony. But the most phenomenal thing in this large canvas is the painter’s mysterious ability to bring all the lines, all the shapes, all the colors into such a wondrous correspondence that they serve only one, the artist’s main desire - to make us look, look tirelessly into the sad eyes of Mary.”
“I wanted to be an eternal viewer of one picture,” said Pushkin about the “Sistine Madonna.”
This Renaissance masterpiece was first painted by the artist without the help of his students and showed the Mother of God literally descending on the viewer, turning her soft gaze on him.
Many said that the painting was created at a time when Raphael was experiencing personal grief, so he put his sadness into the image of a beautiful maiden with sad eyes. In the mother's gaze, the viewer is able to read excitement and humility - feelings caused by the anticipation of the inevitable tragic fate of her own son. Madonna tenderly hugs the child to herself, as if sensing the moment when she will have to tear the tender baby away from her heart and introduce the Savior to humanity.
Initially, the “Sistine Madonna” was conceived as an altar image for the chapel of the monastery of St. Sixtus. At that time, for such work, craftsmen “trained their hands” on a wooden board, but Raphael Santi depicted the Mother of God on canvas, and soon her figure towered majestically above the semicircular choir of the church.
The artist depicted his Madonna barefoot, covered in a simple veil and devoid of an aura of holiness. In addition, many viewers noted that the woman was holding the child in her arms the way simple peasant women did. Despite the fact that the Virgin is deprived of the visible attributes of high origin, other characters in the picture greet her as a queen.
Young Barbara expresses reverence for the Madonna with her gaze, and Saint Sixtus kneels before her and extends his hand, which marks the symbol of the appearance of the Mother of God to people. If you look closely, it seems as if Sixt’s outstretched hand “flaunts” six fingers. There were legends that by doing this Raphael wanted to play on the original name of the Roman bishop, which is translated from Latin as “sixth”. In fact, the presence of an extra finger is just an illusion, and the viewer sees the inside of Sixtus’ palm.
–The more you look, the more you feel the incomprehensibility of these beauties: every feature is thought out, filled with an expression of grace, combined with the strictest style. Karl Bryullov.
There are many legends surrounding this painting.
One of them says that the prototype of the legendary Madonna was Fornarina, the artist’s beloved woman and model. But in a friendly letter to Baldassare Castiglione, the master said that he created the image of perfect beauty not from a specific girl, but synthesized his impressions from many beauties that Raphael was destined to meet.
According to Stam, “his forehead (the Christ child) is not childishly high, and his eyes are not at all childishly serious. However, in their gaze we see neither edification, nor forgiveness, nor reconciling consolation... His eyes look at the world that has opened before them intently, intensely, with bewilderment and fear.” And at the same time, in the gaze of Christ one can read the determination to follow the will of God the Father, the determination to sacrifice oneself for the salvation of humanity.
Raphael painted the holy pope pointing with his right hand at the altar crucifix. It is curious that the artist depicted six fingers on the pontiff’s hand - another six encrypted in the painting. The high priest's left hand is pressed to his chest as a sign of devotion to the Virgin Mary.
Some believe that Raphael depicted the clouds as singing angels. In fact, according to the teachings of the Gnostics, these are not angels, but not yet born souls who reside in heaven and glorify the Almighty.
Raphael received the order to paint the canvas from Pope Julius II. Thus, the pontiff wanted to celebrate the inclusion of Piacenza (a town 60 km southeast of Milan) into the Papal States. The territory was recaptured from the French during the struggle for northern Italian lands. In Piacenza there was the monastery of Saint Sixtus, the patron saint of the Rovere family, to which the pontiff belonged. The monks actively campaigned for annexation to Rome, for which Julius II decided to thank them and ordered an altar image from Raphael in which the Mother of God appears to Saint Sixtus.
It must be said that fame came to her much later after it was written. For two centuries it gathered dust in Piacenza, until in the middle of the 18th century it was bought by Augustus III, Elector of Saxony and King of Poland, and took it to Dresden. Despite the fact that at that time the painting was not considered Raphael’s masterpiece, the monks bargained for two years and raised the price. It didn’t matter to August whether to buy this painting or another, the main thing was Raphael’s brushes. It was his paintings that were missing from the Elector’s collection.
When the Sistine Madonna was brought to Dresden, Augustus III allegedly personally pushed back his throne with the words: “Make way for the great Raphael!” when the bearers hesitated, carrying the masterpiece through the halls of his palace.
The canvas miraculously survived the Second World War. Dresden itself was destroyed to the ground. But the Sistine Madonna, like other paintings in the Dresden Gallery, was hidden in a freight car standing on the rails in an abandoned quarry 30 km south of the city. In May 1945, Soviet troops found the paintings and brought them to the USSR. Raphael's masterpiece was kept in the storerooms of the Pushkin Museum for 10 years, until it was returned along with the entire Dresden collection to the authorities of the GDR in 1955.
Source-Internet
“The Sistine Madonna” - the mystery of the painting by the great Italian artist Raphael Santi updated: December 1, 2017 by: website
“The Sistine Madonna” is the most famous of Raphael Santi’s paintings, which has no creative analogues. The history of the creation of the masterpiece is controversial among historians and art critics. Read about the hypotheses and theories of the creation of the “Sistine Madonna”, the history of the existence of the “Sistine Madonna” and the modern life of the painting.
The truth about the creation of Raphael's masterpiece, The Sistine Madonna, has been lost in history. Even at the level of few documents, there are different versions that can neither be confirmed nor refuted. This does not make it possible to put an end to the dispute among historians about who commissioned the painting. An opponent for the Church of St. Sixtus in honor of the victory over the French was the German art critic Hubert Grimme. He put forward the theory that the painting was intended for the funeral ceremony of the solemn farewell to Pope JuliusII, who died of fever on February 21, 1513 and became the first pope to have his body embalmed. The pope's body was laid out for farewell in the right side chapel (part of the temple to accommodate an additional altar for worship) of St. Peter's Cathedral. The painting was placed over the coffin of Pope Julius. Grimme insists that it was the location of the painting that determined its composition: Raphael depicted how, from the depths of a niche framed by a green curtain, the Mother of God approaches the tomb of the pontiff. According to Grimme, the angels at the bottom of the picture are leaning on the wooden lid of the coffin of Pope Julius. And the papal tiara with the heraldic symbol of della Rovere - the acorn - indicates that the deceased belonged to this ancient family. But Catholic ritual prohibits the use of images that were used in mourning ceremonies on the main altar for religious purposes. The Vatican had unprecedented power. And everything happened in the usual way: with the tacit consent of the Curia (the main administrative body of the Holy See and the Vatican), the “Sistine Madonna” was sold to a Benedictine monastery in distant Piacenza. Having thus avoided unwanted attention to this violation, the painting was placed on the high altar of the Church of St. Sixtus.
"Sistine Madonna" in the interior of the Church of St. Sixtus
Raphael's masterpiece, lost in the provinces, remained unknown until 1754, when the Elector of Saxony (the prince with the right to choose the king) AugustusIIItook the painting to Dresden. In the Church of St. Sixtus there remains a copy of the “Sistine Madonna” made by the artist Giuseppe Nogari.
The Sistine Madonna, one of the most famous paintings in the world, received recognition only in the middleXVIIIcentury, when it was acquired by the ruler of Saxony, AugustusIII. AugustIIIinherited a passion for collecting paintings from his father AugustusIIStrong, who was known as a connoisseur of art and was the first to collect works of old masters. Like his father, AugustIIII never denied myself the pleasure, sparing no expense, to purchase any masterpiece in Venice, Bologna or Prague. He allowed himself these expensive purchases using proceeds from the treasury of the huge Polish-Lithuanian state, whose elective throne was Augustus.IIIoccupied. Only masterpieces were purchased, in the selection of which AugustIIIrelied on the advice of Francesco Algarotti, the greatest authority in the field of artXVIIIcentury, which selected a collection of paintings of exceptional quality for the Saxon electors. But in Rome the agents of Augustus attemptedIII They were not successful in acquiring Raphael's works. Through the mediation of the Bolognese artist Giovannini AugustusIIIFor two years he conducted difficult negotiations on the purchase of the Sistine Madonna. The situation was often paused: the stumbling block was the cost of the painting. It took a year of negotiations to set a price of 25 thousand Roman scudi. This sum was enormous (almost 70 kg of gold), and it was 25 times more than what the Elector of Saxony usually paid for a work of art. Another year was spent waiting for permission from Pope BenedictIVfor sale by the monastery of a beautiful altar image. The Sistine Madonna was the pinnacle of Augustus's successful acquisitionsIIIthat period. The painting was so valued that they deviated from the usual practice (in those days they usually traveled from Italy to Saxony through Venice and Vienna) and sent the “Sistine Madonna” through Tyrol and Outsburg, avoiding customs quibbles in Venice.
A new chapter has begun in the history of the film. On March 1, 1754, the Sistine Madonna was exhibited for the first time in the audience hall of the castle, the residence of the Elector in Dresden. The painting, almost forgotten in Piacenza, again gained fame, albeit among a small select audience. As early as 1846, construction of a building for the museum began in Dresden, which was completed in 1855. The Sistine Madonna and other masterpiece paintings were transported to the Dresden Gallery, which has now become publicly accessible. Foreign visitors were allowed to view the gallery for a large fee. The composition of the gallery reflected the tastes of the European aristocracy of the Enlightenment. Raphael was considered the indisputable authority at that time, and his best easel work was the Sistine Madonna. In the new gallery, Raphael's painting received its own separate room, a new frame and worldwide recognition, more than 300 years after its creation. In his article published in 1755, the art historian Winckelmann called the “Sistine Madonna” the best and most precious of the entire gallery collection.
War, the dark shadow of civilization, almost deprived the world of Raphael’s masterpiece. At the end of 1939, the “Sistine Madonna” was sent by the Nazis from Dresden to the fortress of the city of Meissen Albrechtsburg, which did not save it from the horror of devastating bombings. Therefore, the canvas was transported again, and its location was classified. On the night of February 13-14, 1945, American bombers carried out an unjustifiably brutal raid on Dresden, which was not military necessary because the Dresden garrison was small. Within 90 minutes, not only high-explosive bombs were dropped on the city, but also bombs filled with phosphorus and rubber, which burned everything to the ground. As a result of the bombing, about 30,000 civilians were killed, more than 85% of buildings lay in ruins, countless historical and cultural monuments were mercilessly destroyed, including the Albertinum - the famous Museum of Ancient Art of Germany, one of the largest sculpture museums in Europe. And on the site of the Dresden Art Gallery, only the charred skeletons of the walls stood. But by the time of the bombing, the artistic treasures were no longer there. Immediately after the liberation of the city by Soviet troops, the search for exhibits from Dresden museums began. In the adit of an abandoned quarry beyond the Elbe, a German plan for placing treasures from Dresden museums was found. There were a lot of caches - 53 (later it turned out that the vast majority of them were mined). The “repositories” of the masterpieces of the Dresden Gallery turned out to be a tunnel in Gross Cotta and a lime quarry in Pokuu - Lengefeld.
The war years were tragic for the cultural life of Dresden. Most of the exhibits recovered from the caches needed immediate help; many of them were on the verge of destruction; more than 300 paintings were damaged by the bombing. But the devastation of post-war Germany did not even allow the creation of proper conditions for storing paintings, not to mention their restoration. Raphael's canvas and the masterpieces found were sent for restoration to Kyiv and Moscow. For technological reasons, the restoration process turned out to be lengthy. Only 10 years later, the “Sistine Madonna” and another 1240 paintings returned to the collection of the Dresden Gallery. The Sistine Madonna was restored several times: in 1826, 1856 and 1931. Now the Dresden Museum, fearing for the safety of the masterpiece, is in no hurry to restore it.
In September 2011, to the Dresden Gallery for an exhibition dedicated to the visit of Pope BenedictXVIto Germany, they brought the prototype of the famous “Sistine Madonna” - “Madonna di Foligno”, which for the first time in history left the Vatican Pinacoteca for this exhibition. Interesting fact: now no one would doubt the superiority of the “Sistine Madonna”, butXVIIIcentury "Madonna di Foligno" was valued higher. After all, it was her, and not the “Sistine Madonna” AugustIIII wanted to purchase it for my Dresden collection, but for various reasons I was unable to do so.
"Sistine Madonna" on display at the Dresden Gallery
The muted palette of the “Sistine Madonna” is inferior in intensity to the colors of the “Madonna di Foligno”, the colors of which were cleaned by Italian restorers. But since the artist used the same paints to create both paintings, one can only imagine how beautiful the Sistine Madonna once was.
Gold coin issued by the Vatican. The theme of the issue is “The Sistine Madonna” by Raphael
Italy immortalized Raphael's masterpiece. The next €100 gold coin from the Stanzas of Raphael series was released into circulation by the Vatican City State in September 2013. The theme of this issue was “The Sistine Madonna” by Raphael.
"Madonna and Child with Saints Jerome and Francis" (Madonna col Bambino tra i santi Girolamo e Francesco), 1499-1504. The painting is now in the Berlin Art Gallery.
"Madonna Solly" is so named because it belonged to the British collector Edward Solly. The painting dates from 1500-1504. The painting is now in the Berlin Art Gallery.
"Madonna di Pasadena" is named after its current location - the city of Pasadena in the USA. The painting is dated 1503.
"Madonna and Child Enthroned and Saints" (Madonna col Bambino in trono e cinque santi) dates from 1503-1505. The painting depicts the Virgin Mary with the infant Christ, young John the Baptist, as well as the Apostle Peter, the Apostle Paul, Saint Catherine and Saint Cecilia. The painting is in the Metropolitan Museum of Art in New York (USA).
"Madonna Diotallevi" (Madonna Diotallevi) is named after the original owner - Diotallevi di Rimini. The painting is now in the Berlin Art Gallery. The Diotallevi Madonna is dated 1504. The painting depicts the Virgin Mary with the baby Jesus in her arms, who blesses John the Baptist. John folded his hands on his chest as a sign of humility. In this picture, as in all previous ones, one can feel the influence of Perugino, Raphael’s teacher.
"Madonna Connestabile" was painted in 1504 and was later named after the owner of the painting, Count Conestabile. The painting was acquired by Russian Emperor Alexander II. Now "Madonna Conestabile" is in the Hermitage (St. Petersburg). "
Madonna Conestabile" is considered the last work created by Raphael in Umbria, before moving to Florence.
"Madonna del Granduca" was written in 1504-1505. This painting shows the influence of Leonardo da Vinci. The painting was painted by Raphael in Florence and remains in that city to this day.
"Little Madonna of Cowper" (Piccola Madonna Cowper) was written in 1504-1505. The painting was named after its owner, Lord Cowper. The painting is now in Washington (National Gallery of Art).
"Madonna Terranuova" was written in 1504-1505. The painting received its name from one of the owners - the Italian Duke of Terranuva. The painting is now in the Berlin Art Gallery.
"Madonna Ansidei" dates from 1505-1507 and depicts the Virgin Mary with the child Christ, the adult John the Baptist and Nicholas the Wonderworker. The painting is in the London National Gallery.
Madonna Ansidei. Detail
"Madonna d'Orleans" was painted in 1506. The painting is called Orleans Madonna because its owner was Philip II of Orleans. Now the painting is in the French city of Chantilly.
Raphael's painting "The Holy Family with the Beardless Saint Joseph" (Sacra Famiglia con san Giuseppe imberbe) was painted around 1506 and is now in the Hermitage (St. Petersburg).
Raphael's painting "The Holy Family under a Palm Tree" (Sacra Famiglia con palma) dates back to 1506. As in the previous painting, this one depicts the Virgin Mary, Jesus Christ and St. Joseph (this time with a traditional beard). The painting is in the National Gallery of Scotland in Edinburgh.
"Madonna in Greenery" (Madonna del Belvedere) dates back to 1506. The painting is now in Vienna (Kunsthistorisches Museum). In the painting, the Virgin Mary holds the infant Christ, who grabs the cross from John the Baptist.
"Madonna with the Goldfinch" (Madonna del Cardellino) dates back to 1506. Now the painting is in Florence (Uffizi Gallery). The painting shows the Virgin Mary sitting on a rock while John the Baptist (on the left of the painting) and Jesus (on the right) are playing with a goldfinch.
"Madonna with Carnations" (Madonna dei Garofani) is dated 1506-1507. "Madonna with Carnations", like other paintings from the Florentine period of Raphael's work, was written under the influence of the work of Leonardo da Vinci. "Madonna with Carnations" by Raphael is a version of "Madonna with a Flower" by Leonardo da Vinci. The painting is in the London National Gallery.
"The Beautiful Gardener" (La Belle Jardiniere) dates from 1507. The painting is in the Louvre (Paris). The Virgin Mary in the painting sits in the garden holding the infant Christ. John the Baptist sat down on one knee.
Raphael's painting "The Holy Family with the Lamb" (Sacra Famiglia con l"agnello) dates back to 1507. The painting depicts the Virgin Mary, St. Joseph and the baby Jesus sitting astride a lamb. The painting is currently in the Prado Museum in Madrid.
The painting "The Holy Family Canigiani" (Sacra Famiglia Canigiani) was painted by Raphael in 1507 for the Florentine Domenico Canigiani. The painting depicts Saint Joseph, Saint Elizabeth with her son John the Baptist and the Virgin Mary with her son Jesus. The painting is located in Munich (Alte Pinakothek).
Raphael's painting "Madonna Bridgewater" dates back to 1507 and is so named because it was located at the Bridgewater estate in Great Britain. The painting is now in Edinburgh (National Gallery of Scotland).
"Madonna Colonna" dates back to 1507 and is named after the owners from the Italian Colonna family. The painting is now in the Berlin Art Gallery.
"Madonna Esterhazy" dates back to 1508 and is named after the owners from the Italian Esterhazy family. The painting depicts the Virgin Mary with the baby Jesus in her arms and a seated John the Baptist. Now the painting is in Budapest (Museum of Fine Arts).
"Grande Madonna Cowper" was painted in 1508. Like Cowper's Little Madonna, the painting is in Washington (National Gallery of Art).
"Madonna Tempi" was painted in 1508, named after the owners, the Florentine Tempi family. Now the painting is in Munich (Alte Pinakothek). "Madonna Tempi" is one of the few paintings by Raphael of the Florentine period in which the influence of Leonardo da Vinci is not felt.
Madonna della Torre was painted in 1509. The painting is now in the London National Gallery.
"Madonna Aldobrandini" dates back to 1510. The painting is named after the owners - the Aldobrandini family. The painting is now in the London National Gallery.
"Madonna in a Blue Diadem" (Madonna del Diadema blu) dates from 1510-1511. In the painting, the Virgin Mary lifts the curtain over the sleeping Jesus with one hand, while embracing John the Baptist with her other hand. The painting is in Paris (Louvre).
"Madonna d'Alba" dates back to 1511. The painting was named after its owner, the Duchess of Alba. "Madonna Alba" belonged to the Hermitage for a long time, but in 1931 it was sold abroad and is now in the National Gallery of Art in Washington .
"Madonna with a Veil" (Madonna del Velo) is dated 1511-1512. The painting is in the Condé Museum in the French city of Chantilly.
"Madonna of Foligno" (Madonna di Foligno) dates from 1511-1512. The painting is named after the Italian city of Foligno, where it was located. The painting is now in the Vatican Pinacoteca. This painting was painted by Raphael commissioned by Sigismondo de Conti, secretary of Pope Julius II. The customer himself is depicted in the picture on the right, kneeling before the Virgin Mary and Christ, surrounded by angels. Standing next to Sigismondo de Conti are Saint Jerome and his tame lion. On the left is John the Baptist and the kneeling Francis of Assisi.
"Madonna with Candelabra" (Madonna dei Candelabri) dates from 1513-1514. The painting depicts the Virgin Mary with the Christ Child surrounded by two angels. The painting is in the Walters Art Museum in Baltimore (USA).
The Sistine Madonna is dated 1513-1514. The painting depicts the Virgin Mary with the infant Christ in her arms. To the left of the Mother of God is Pope Sixtus II, to the right is Saint Barbara. The Sistine Madonna is in the Old Masters Gallery in Dresden (Germany).
"Madonna del Impannata" (Madonna dell "Impannata) is dated 1513-1514. The painting depicts the Virgin Mary with the infant Christ in her arms. Next to them are St. Elizabeth and St. Catherine. On the right is John the Baptist. The painting is in the Palatine Gallery in Florence .
"Madonna in an Armchair" (Madonna della Seggiola) is dated 1513-1514. The painting depicts the Virgin Mary with the baby Christ in her arms and John the Baptist. The painting is in the Palatina Gallery in Florence.
"Madonna in the Tent" (Madonna della Tenda) was written in 1513-1514. The name of the painting is given because of the tent where the Virgin Mary with the Child Christ and John the Baptist are located. The painting is in the Alte Pinakothek in Munich (Germany).
Madonna del Pesce was painted in 1514. The painting depicts the Virgin Mary with the infant Christ, Saint Jerome with a book, as well as Archangel Raphael and Tobias (the character from the Book of Tobit, to whom Archangel Raphael gave the miraculous fish). The painting is located in the Prado Museum in Madrid.
"Walk of the Madonna" (Madonna del Passeggio) dates from 1516-1518. The painting depicts the Virgin Mary, Christ, John the Baptist and, not far from them, Saint Joseph. The painting is in the National Gallery of Scotland (Edinburgh).
Raphael's painting "The Holy Family of Francis I" (Sacra Famiglia di Francesco I) is dated 1518 and named after the owner, King Francis I of France, and is now in the Louvre. The painting depicts the Virgin Mary with the Child Christ, Saint Joseph, Saint Elizabeth with her son John the Baptist. Behind are the figures of two angels.
Raphael's painting Sacra Famiglia sotto la quercia (Sacra Famiglia sotto la quercia) depicts the Virgin Mary with the Christ Child, Saint Joseph and John the Baptist. The painting is in the Prado Museum in Madrid.
"Madonna with a Rose" (Madonna della Rosa) is dated 1518. The painting depicts the Virgin Mary with the Christ Child, who receives from John the Baptist a parchment with the inscription "Agnus Dei" (Lamb of God). Behind everyone is Saint Joseph. There is a rose on the table, which gave the name to the painting. The painting is in the Prado Museum in Madrid.
The painting "Little Holy Family" (Piccola Sacra Famiglia) dates from 1518-1519. The painting depicting the Virgin Mary with Christ and Saint Elizabeth with John the Baptist is called "Little Holy Family" to distinguish it from the painting "Great Holy Family" ("Holy Family of Francis I"), also in the Louvre.
When someone talks about Raphael's Madonna, the imagination immediately draws a gentle, spiritual image that seems to glow from within. For all my life Rafael Santi painted several dozen paintings with images of the Virgin Mary. And they are all diverse and good in their own way. This review presents 5 famous “Madonnas” by the great Renaissance painter.
Madonna Conestabile
“Madonna Conestabile” is one of Raphael’s early paintings, created by him at the age of 20. It was written in Perugia before moving to Florence. The young artist has not yet been influenced by the technique of such masters as Leonardo da Vinci or Michelangelo Buonarroti, so the depicted image of the Virgin Mary with a baby in her arms is still too simple.
“Madonna Conestabile” is the only painting by Raphael that is stored in Russia, in the Hermitage. In 1870, Emperor Alexander II purchased it as a gift for his wife Maria Feodorovna. The painting was in the Italian city of Perugia in the possession of Count Conestabile della Staffa (hence the name of the canvas). He really needed money and, despite reproaches from the public for depriving them of a national treasure, he sold the Conestabile Madonna for 100 thousand rubles.
Raphael’s painting could well have left Russia during the period of active sale of the Hermitage heritage by the Bolsheviks, but for some reason no one bought the tiny canvas measuring 17.5x18 cm, and it remained on display in the museum.
Madonna Granduca
When Raphael arrived in Florence in 1504, he became acquainted with the works of Leonardo da Vinci and mastered the sfumato technique (smooth transition from light to shadow) used by the great master. It was then that the “Madonna Granduca” appeared.
Looking at the canvas, it seems that it literally glows. The Madonna's eyes are downcast, signifying humility. Her clothes are made in traditional colors. Red signifies the sacrificial blood of Christ, and the blue cloak represents the purity of the Queen of Heaven.
It is curious that the original background of the painting was a landscape and a window with a balustrade, but now the Madonna is depicted against a black background. Until recently, it was believed that Raphael himself decided to paint over the landscape, but recent research has shown that the black paint was applied no earlier than a hundred years after the painting.
Madonna Alba
Raphael painted Madonna Alba while in Rome in 1511. He was invited there by Pope Julius II to paint the halls of the Vatican. At the same time, Michelangelo worked there on the famous Sistine Chapel.
Raphael was lucky enough to see the master's frescoes. Influenced by the works of Michelangelo, the artist painted the Madonna of Alba. In comparison with earlier paintings, here Madonna is no longer fragile and humble, but a completely self-confident woman, depicted in a relaxed pose.
Until 1931, the Alba Madonna was in the Hermitage collection, until it was sold by the Bolsheviks to an American tycoon.
Madonna in a chair
"Madonna in an Armchair" differs from Raphael's previous works. In this picture, the Virgin Mary is more “earthly”. If all the previous images were born in the artist’s head, then for this Madonna a real girl posed for him. The robe of the Virgin Mary is also unusual. The traditional red dress and blue cloak were replaced by the clothes of a simple city woman.
Sistine Madonna
The Sistine Madonna is considered the pinnacle of Renaissance fine art. She differs from other “Madonnas” by Raphael not only in composition, but also in her pose and gaze. If the previous paintings were painted on wood, then this one is done on canvas.
The “Sistine Madonna” hung for a long time in one of the churches of the Italian city of Piancenza, until it was bought by Augustus III, Elector of Saxony. There is a legend that he ordered his throne to be moved so that the picture could be better seen.
Today the painting is in the Old Masters Gallery in Dresden. Of course, Raphael's skill is undeniable, but even in the Sistine Madonna