Madonna del Granduca
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| Madonna del Granduca |
|---|
| Raffael Santi , 1506 |
| oil on wood |
| 84 × 55 cm |
| Palazzo Pitti , Florence |
The Madonna del Granduca is a painting by Raphael from 1506. The artist's early work is exhibited in the Palazzo Pitti in Florence .
The work
"With relaxed monumentality" the Madonna and her baby Jesus emerge from a dark background. An X-ray photo, which was made in connection with a restoration, shows a round-arched architecture in the background of the Madonna with a landscape behind it. Details cannot be seen. In the opinion of the restorer, Raphael himself covered the background darkly in order to emphasize the group of figures. So the viewer looks at the light brownish-gold incarnate of the Madonna and Child.
This chiaroscuro , the light-dark painting, is used in the sense of Leonardo da Vinci to emphasize the intensity, the inwardness and the divine of the figures.
It is Mary shown standing almost to the knee with a bright blue cloak and a red dress. A color symbolism is likely here: red stands for love and blue for everything heavenly.
Her head is tilted a little to the right, her eyes slightly downcast, and her mouth closed. The blond curly hair is half covered by the coat, which falls over her right shoulder, exposing her right hand. Hand and shoulder form a balance to the extremely vividly depicted child on the right. She touches her child gently, giving direction to the viewer, as if she wanted to present the baby Jesus to him. At the same time she holds it with her left hand for support. The child holds on to Maria with both hands, puts his left knee against her body and lets his right leg hang down. The baby Jesus shows an attentive look at the surrounding life, while the Blessed Mother gives the impression through her slightly downcast eyes that she can only be ashamed of her motherly happiness.
With this composition , the picture belongs in a series of Madonna depictions by Raphael, which depict the intimate coexistence of mother and child, "who, carefree for the rest of the world, completely satisfy themselves and enjoy the bliss in themselves". Raffael develops the motif “Carrying and supporting the child” “in the formal language of the beginning High Renaissance”, which is translated into movement in the Madonna Tempi .
This painting can be described as “the poetry of the Incarnation”.
Provenance
The commissioner of the painting is unknown. It was named by Ferdinand III, Grand Duke of Tuscany (1769-1824), who approved the purchase between autumn 1799 and winter 1800. It came to the Palazzo Pitti in Florence. During the Napoleonic rule, Ferdinand III. it into exile. After his return, it was exhibited in the private rooms of the Pitti Palace until it moved to the Saturn room in 1882, where it can still be seen today.
literature
- Kuhn, Rudolf: What is the classic in painting of the High Renaissance . first printed in: About the Classical. Ed .: Bockholdt, Rudolf. Suhrkamp, Frankfurt 1987, p. 137-203 .
Selection of further depictions of the Madonna by Raphael
Web links
Individual evidence
- ↑ Mario Dal Bello: Raffael Madonna Pictures . Regensburg, 2012, p. 37.
- ↑ Meyer zur Capellen, Jürg: Raffael in Florence . Hirmer, Munich 1996, ISBN 3-7774-6980-7 , p. 160 .
- ↑ Engelbert Kirschbaum : Lexicon of Christian Iconography. Volume 2. Special Edition . Freiburg im Breisgau, 2015, p. 12f.
- ↑ Dr. Robert Dohme (Ed.): Art and Artists of Italy. Volume 2 . Leipzig, 1878, p. 67.
- ↑ Meyer zur Capellen, Jürg: Raffael in Florence . Hirmer, Munich 1996, p. 162 .
- ↑ Mario Dal Bello: Raffael Madonna Pictures . Regensburg, 2012, p. 37.
- ^ Uffizi Galleries: Madonna del Granduca. Retrieved February 4, 2020 .