RAFFAELLO Sanzio (1483, Urbino, d. 1520, Roma) la Madone Granduca 1504 huile sur bois, 84 x 55 cm Galleria Palatina (Palazzo Pitti), Florence la Madonna del Granduca (1504) dans la Galerie Pitti à Florence montre l'influence prééminente de Léonard. Sa composition simple est un prototype pour les futures Madonnas de la dernière période florentine de Raphaël. Les figures de la Vierge à l’enfant émergent d’un fond sombre (un élément évidemment dérivé de Léonard), liées entre elles par un doux sentiment qui dérive largement du geste de l’enfant qui, en regardant vers le spectateur, prône
3204 x 4880 px | 27,1 x 41,3 cm | 10,7 x 16,3 inches | 300dpi
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Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.
RAFFAELLO Sanzio (b. 1483, Urbino, d. 1520, Roma) The Granduca Madonna 1504 Oil on wood, 84 x 55 cm Galleria Palatina (Palazzo Pitti), Florence The Madonna del Granduca (1504) in the Pitti Gallery in Florence shows the pre-eminent influence of Leonardo. Its simple composition is a prototype for the future Madonnas of Raphael's last Florentine period. The figures of the Virgin and Child emerge from a dark background (an element evidently derived from Leonardo), bound together by a sweet sentiment which derives largely from the gesture of the Child who, while looking toward the spectator, presses against his Mother The painting belonged to the 17th century Florentine painter, Carlo Dolci, and then to Grand Duke Ferdinand III of Lorraine from whom its name derives. In spite of the fact that this painting is in part changed by the drastic nineteenth century restoration which included the repainting of the background and of the dress, it has still remained one of the finest creations of Raphael in his early period, at the time, when having come to Florence after his first formation under Perugino, he became acquainted with Florentine art at the beginning of the Cinquecento; and as is clearly seen in this work, was especially impressed by the painting of Leonardo. In the Madonna del Granduca both the Peruginesque and the Leonardesque influences are fused and assimilated by the young artist into a marvellous harmony which extends to the whole composition, from the spacing of the two figures in the space with that sense of flowing rhythm to the magic of the colour which softly dissolves into delicate shadow. Raphael's greatest paintings seem so effortless that one does not usually connect them with the idea of hard and relentless work. To many he is simply the painter of sweet Madonnas which have become so well known as hardly to be appreciated as paintings any more. For Raphael's vision of the Holy Virgin has been adopted by subsequent generations in the same way as Mi
