Painting Sistine Madonna - magic painting by Raphael Santi. The story of one masterpiece: "The Sistine Madonna" by Raphael Sistine Madonna g

The Sistine Madonna is the most famous of the paintings by Raphael Santi, which has no creative counterparts. Read about the history of the creation of the "Sistine Madonna", the first mention of the "Sistine Madonna", about the original name of the masterpiece of artistic classics, read in our article.

“This is a whole world, a magnificent, colorful world of art. This picture alone would be more than enough to make the name of the author, if he did not create anything else, immortal. "

Goethe on the "Sistine Madonna"

Raphael's highest creative rise lasted until the middle of 1510, and this period saw the creation of the "Sistine Madonna" - the most famous of the artist's paintings.

The Sistine Madonna by Raphael Santi

At one time, this painting was considered the most famous in the world, not only because of its beauty, but also because the Polish-Saxon king Frederic AugustIIISaxon bought it in 1574 from the church of St. Sixtus in Piacenza for a huge amount of money. From the name of the church, the painting got its new, now known to everyone, the name - "Sistine Madonna", and initially it was called "Madonna and Child, with St. Sixtus and St. Barbara". The Church of St. Sixtus kept relics associated with these saints. Relics are extremely important to the church because they have the desired effect. Pope JuliusII, while still a cardinal, collected donations for the construction of a chapel in the church for the relics of St. Sixtus and St. Barbara.

Church of St. Sixtus, Piacenza

There is no documentary evidence of the creation of the "Sistine Madonna" and why she ended up in the monastery of St. Sixtus in Piacenza. For the first time the painting was mentioned in the "Biographies of the most famous painters, sculptors and architects" Vasari only in 1550. According to Vasari: “He (Raphael) performed for the black monks (monastery) of St. Sixtus the board (image) of the main altar with the apparition of Our Lady to St. Sixtus and St. Barbara; a unique and peculiar creation ”. Vasari's assertion that the altar image was executed on a board indicates that he himself did not see the Sistine Madonna, because the picture was painted on canvas. Vasari's mistake has a simple explanation: at the beginningXviFor centuries, altar images were usually performed on a board. The huge Sistine Madonna (256x196 cm) is painted on canvas. It is possible that the choice of material depended on the large size of the painting. But this can also be interpreted as a hint that the picture was conceived as an element of the banner.

Banner is a religious banner in the Orthodox and Eastern Catholic Churches. It is a banner on a staff with the image of Jesus Christ, the Mother of God or the saints. Church banners were intended for religious processions.

The dating of the painting is stretched in time - from 1512 to 1519, and is still controversial. Most researchers consider the most probable date of its execution 1512 - 1514.

All Italian culture originates from the monasteries. A monastery is a religious community of monks or nuns with a single charter and a single complex of liturgical, residential and outbuildings. The birthplace of monasticism is Egypt, famous for its Desert Fathers.IV- Vcenturies. The Monk Pachomius the Great founded the first community monastery and wrote the first monastery charter in 318. Monasteries were not only engaged in religion, they have been centers of knowledge since the dark Middle Ages. Each monastery had a library and a place where scriptorium books were copied, and their joint activities launched a chain of events favorable to the development of culture. Some monasteries, such as the first Benedictine monastery in Monte Cassino (founded in 529), were real medieval scientific centers. The monks were engaged in research in various fields of philosophy, medicine and music. The first schools were opened at monasteries. The novices of monasteries often became popes: Pope Leo X, the patron saint of Raphael, was a novice of the Monte Cassino monastery, 100 km from Rome. Monasteries gave shelter to the weak old and sick and were a place where one could hide from the worldly environment, from the chaos and violence reigning in the world. Under the influence of the teachings of Savonarolla, Leonardo da Vinci in 1491 left for some time in a Dominican monastery near Pisa. The older brother of Michelangelo, who was tonsured a monk in Viterbo, and the artist della Porta, who received the name of Fra Bartolomeo after taking the monastic dignity, became adherents of the ideas of Savonarola's "demagogue on religious grounds".

The monastery of St. Sixtus, one of the oldest monasteries, was founded by Queen Engilberg in 874. And like any monastery, he lived autonomously, strictly guarding his secrets. We must not forget that these were difficult times: Italy lived in a state of incessant wars that destroyed people and the very spirit of civilization. The terrible reality of these wars was not just catastrophic, sometimes simply irreparable losses: during Napoleon's Italian campaign, the archive of the monastery of St. Sixtus burned down. Unfortunately, no preparatory drawings or sketches of the "Sistine Madonna" have survived either. And since there is no source of historical information, the name of the customer of the beautiful painting is still not known.

The German researcher M. Putcher and his followers are convinced that Raphael painted the "Sistine Madonna" for the Church of St. Sixtus, and the painting remained in this church until it was taken to Dresden. According to his version, Pope Julius presented the "Sistine Madonna" to the Church of St. Sixtus in gratitude for the contribution made by Piacenza (the monks of the monastery actively campaigned for joining Rome) during the war with France. At the beginningXvicenturies, the northern lands of Italy became the subject and place of the collision of the vested interests of Rome and France. The papal troops were so good at coping with the bloody task of conquering the northern regions that the northern Italian cities, one after another, went over to the side of the Roman pontiff. On June 24, 1512, Piacenza also voluntarily joined Rome, entering the pope's state and receiving the status of the Papal Realm.

JuliaII, whose political ambitions went hand in hand with religious fervor, had a special attitude towards Piacenza. This small town 60 km from Milan reminded Pope Julia of his kinship with Pope SixtusIV, his uncle. In addition, the city was home to the Cathedral of St. Sixtus, the patron saint of the della Rovere family, to which Pope Julius belonged. During his stay in Piacenza in June 1500, while still a cardinal, Pope JuliusIIgranted the monks of the monastery absolution for the godly work of building a church. The Church of St. Sixtus, badly damaged during the war and rebuilt by the famous architect Alessio Tramallo in 1499-1511, was reopened after reconstruction with a new altarpiece - Raphael's masterpiece "Sistine Madonna".

Interior of the Church of St. Sixtus

It is known about this painting that it definitely belongs to the brush of the great Raphael. And besides, he wrote it alone, without assistants. It was commissioned for the Church of St. Sixtus. And naturally, the picture reflects the biblical story - the appearance of Christ to the people. The dimensions of the painting are impressive. Three by two meters is about the size of a floor in a large room in an ordinary apartment.

In terms of its plot, the picture is simple. In the center of the picture is a woman with a child in her arms. This child is Jesus Christ. A woman walks with bare feet on the white swirling clouds. To the right of her is a crouching girl. And on the left is a bearded old man in robes. He points with his right hand to the right. At the bottom of the picture are two little angels. That's all the characters.

The woman is somehow strangely holding the child. It does not hold to itself, as all mothers do, but with its back to itself. She is ready to give her child. The adults in the picture are dressed, and the children are naked. Why doesn't she cover the child? After all, he is probably cold.

The child is not a nursing child, he is about a year old. And he probably knows how to walk. Look how plump he is, which means he is healthy and has a good appetite. But still, why no clothes? The child presses his head against the mother's cheek.

Nobody smiles, everyone is in a state of deep thought. Apparently, there is nothing to be happy about and everyone understands this. Even the little angels have their faces propped up with their hand, and are thinking about something.

The woman is the holy virgin Mary, the boy is Jesus Christ. The painting has no floor, no walls, no ceiling. It seems to be hanging in the air. Madonna seems to be going to people. Only dark green curtains "hint" that everything will be over soon, and they will be closed. And behind them something will be hidden from human eyes.

Maria is dressed in a beautiful red and blue long dress, her head is covered with a long mustard-colored shawl. On the left, seated Saint Barbara, with her head uncovered, is dressed in bright clothes. The long skirt is also dark blue. She pressed her hands to her chest, eyes down. She doesn't want to look Maria in the eye. As a woman to a woman, she understands and sympathizes with her. Her image expresses humility and reverence.

On the other side of Mary, Saint Sixtus fell to his knees. His face is turned to Mary, his hand shows the direction where she needs to go. And the little children with wings put their little hands as if on the edge, not to understand why. Since there is a curtain, then this is the edge of the stage. Both angels have their eyes upward. I wonder what they saw there?

It seems that all the characters know and understand everything. But there is no other choice. This picture could only be painted by that person, and it is clear that this is a man who never parted with his child.

Description of the painting by Raphael Sistine Madonna

It has been 500 years since the great Italian painter Rafael Santi created his best work "The Sistine Madonna", and, probably, there is no person on earth who would not be familiar with this picture. Written for the monastery of St. Sixtus, it is currently kept in the Dresden Gallery.

From the canvas of a rather impressive size, the Mother of God with the Child in her arms looks at the viewer with hope, sadness and anxiety. She is wearing simple clothes, with bare feet she easily steps on the clouds. The young Mother of God carries her son to people, trustingly hoping that the world will be kind to him, will not harm him. But at the same time, the Virgin Mary is full of humility and understanding that she must fulfill the will of the one she holds in her arms.

The artist draws the Infant Savior as a large and strong child. His look is not childishly serious. Unlike his mother, he knows for sure about his great destiny: to fulfill the will of God the Father and become a saving sacrifice for humanity.

Pope Sixtus IV, who knelt down, looks reverently at the Mother of God and Christ. His image is placed on the left side of the picture. On the right, at the feet of the Mother of God, the artist placed Saint Barbara. Her gaze is turned down to the Earth, where Christ is awaiting crucifixion. The clothes of these saints are incomparably richer and brighter than the simple red and blue robes of the Mother of God. But this simplicity does not deceive the viewer. He sees the Queen descending from heaven, giving her child in the name of saving people on Earth.

Behind the back of the Virgin Mary, the artist painted the barely noticeable faces of angels, which at first glance seem to be light clouds. Some art historians claim that these are the souls of unborn people. Below are two little angels, very reminiscent of ordinary street tomboy. One of them even lost his wing somewhere. But they, too, captured by the importance and solemnity of the moment, attentively and thoughtfully observe the ongoing miracle of God's descent to Earth.

Raphael has repeatedly depicted the Virgin Mary in his paintings. It is not exactly the "Sistine Madonna" that has become such a fusion of beautiful composition, harmony, and meaning, which has been admiring and fascinating the viewer for five centuries.

Several interesting compositions

• Composition on the painting Rest after the battle Neprintseva grade 8

  The canvas "Rest after the Battle" was based on the poem "Vasily Terkin". Actually, after the artist read this poem, he came to the conclusion that he would write a wonderful canvas on a military theme.

  Anna Nikolaevna is one of the secondary characters in the work, the sister of the main character of the novel Vera Nikolaevna Sheina.

Spring 1945. Parts of the Soviet troops and the Allied army took the exhausted, almost destroyed almost to the foundation of Dresden. The day before, it was subjected to one of the worst bombings in the history of World War II. The search for the masterpieces of the Dresden Gallery was taken up by the so-called "rescue team" of the Soviet army. This commission included not only the military, but also restorers, scientists, and artists. Dresden masterpieces were found in a damp limestone mine. When they opened the drawer where one of the canvases lay, the men, seeing the picture, silently took off their caps and caps. The harsh Soviet soldiers, who had faced only death and grief during several war years, were shocked by the image of a woman of wondrous beauty and her divine baby.

… 1515. Black monks knocked at Raphael's Roman workshop. They reported that they were serving God in the distant monastery of Saint Sixtus, located in the quiet town of Piacenza, and had come such a difficult journey to order the famous maestro to order an altarpiece for the chapel of their monastery. The relics of Sixtus and Saint Barbara are kept in his chapel.

- Who should I portray? Raphael asked, bowing his head respectfully.

“Madonna,” answered the monks. - The Blessed Virgin and her son, Jesus Christ.

“Okay,” Raphael said. - I will fulfill your request.

After the monks left the maestro's workshop, Raphael pulled a huge canvas onto a stretcher and, without any outside help, began to paint a picture. By the way, these seemingly natural actions in this situation contain at least two events that go beyond the ordinary. Firstly, the altar images were then written exclusively on a blackboard, but for the "Sistine Madonna" Raphael chose an elastic canvas with its rough texture, and secondly, Raphael, an eminent Roman artist, was surrounded by numerous students by the time the black monks arrived. They usually diligently and "finished painting" what the teacher sketched on the canvases commissioned by influential Romans. Rafael simply physically could not do all the work, so he could not cope without the students.

RACE WITH MICHELANGELO

Raphael Santi was born in the Italian city of Urbino in 1483 and lost his mother in early childhood; this sad event made the topic of motherhood the most important in his thoughts and work. The artist began to study painting in his hometown, with the famous maestro Perugino. The diligent young man diligently pored over the tasks of the teacher and thoroughly studied the works of the painting giants who worked before him. Raphael spent seven years under the wing of a teacher, and in 1508 he went to the Vatican. Artists of the past centuries, in order to be known, talked about, understood, loved, had to seek recognition in big cities, under the auspices of the powerful. And Raphael did not invent anything new when he arrived at the court of Pope Julius II, taking advantage of the recommendation of the architect Donato Bramante, who was his relative. At that moment he turned 25 years old - the most beautiful age to conquer the world. During the receptions, the young man wandered among the crowd of noble people - the holiest cardinals, nobles, beautiful ladies, admired the jewelry, dresses, decoration of the papal chambers. None of those present could even imagine that five years later this Urbino, dressed all in black, would become the head of the Roman school of painting, create frescoes that perpetuate the name of Pope Julius II and become textbook examples for classical artists. For all the fragility of his creative nature, Raphael had an amazing strength of character and the tenacity of a fearless warrior. While painting the Vatican, he set himself an ambitious goal - to surpass the titan of the Renaissance Michelangelo, to create such murals, seeing which, the viewer would at least for a moment forget about the existence of Buonarroti. However, Raphael did not pursue praise, although they constantly poured on his head from the papal guests, who predicted a great future for him. As a true genius, he trusted only one critic - himself.

By the age of 30, Raphael had achieved unprecedented success. His day was scheduled by the minute. He worked immensely a lot, but at the same time managed to be friends with the popes: he was sincerely loved by both Julius II and Leo H. The artist easily found a common language with the brilliant personalities of his time. Raphael was naturally rewarded with the gift of personal charm, his contemporaries argued that after communicating with the maestro, the feeling that you were swimming in the gentle rays of the sun did not leave. And yet he remained a stranger in the crowd of nobility, a thin, silent youth in black robes, who silently attended the papal receptions. They wanted to tame him, to rule his life: Cardinal Bibiene dreamed of marrying his niece, the fabulously wealthy patron of arts Agostino Kiyaji hoped to make a close friend out of the city dweller. Dozens of times Raphael listened to offers from noble and wealthy people to move to their palaces and castles in order to settle there and become a "pocket" artist. He was offered a sweet life in exchange for personal freedom. But that was not why the artist from Urbino came to Rome. He came to reach the heights of art, and no one could push Raphael off the intended path. It was at this moment that the black monks from the monastery of St. Sixtus approached him.

Dossier DISCOVERY

Michelangelo Buonarroti (1475-1564) - sculptor, painter, architect and thinker. Became a symbol of the Renaissance, revolutionizing the art world. His genius belongs to the world famous statue of David, which has become the ideal embodiment of the human body, and St. Peter's Cathedral in Rome. Michelangelo was one of the first to capture the distorted grace of the deceased in stone. However, it was in painting that he became a true innovator. His hand-painted ceiling painting of the Sistine Chapel, depicting biblical scenes from the creation of the world to the flood and including more than 300 figures, is recognized as one of the most valuable exhibits of the world cultural heritage.

THE HOLY SINNER

So, contrary to the established routine, Raphael himself wrote "The Sistine Madonna" - from the first sketch to the final brushstroke. The clients came for the painting on time, and the maestro presented them with his unsurpassed work, in which there was a certain merit and his model, who was not the first time giving her features to the Raphael Madonnas. Her name was Margarita Luti, and she was the daughter of a baker. Thanks to her father's profession, Margarita received a nickname that remained in the centuries - Fornarina (Baker). Raphael met this girl of striking beauty while walking along the banks of the Tiber. He was 31 years old, she was 17. Fornarina had a groom - a shepherd, and every man he met looked back at her. And she happily turned everyone's head. Raphael fell so deeply in love with the beautiful Margarita that he paid her father generously for the right to be with her. Did the girl love Raphael? This question will remain unanswered. The beauty endlessly cheated on the artist, many male names are woven into the history of her life. Many consider Fornarina to be the unwitting culprit of Raphael's early death - the great Urbino man died at the age of 37. Raphael bequeathed considerable funds to his passion. According to some sources, Fornarina became the most luxurious courtesan in Rome and it is not known how she ended her life; according to others, a few years after Raphael's death she went to a monastery and ended her days as a modest nun. The name of this woman is shrouded in many legends and conjectures, but it is reliably known that, ironically, it was this earthly woman full of passions that became the prototype of the Holy Virgin Mary. In the monastery of St. Sixtus, the Raphael Madonna was located above the altar directly opposite a large crucifix depicting the torment of Christ. So, according to the author's intention, the views of the Madonna and the baby are directed to the dying Jesus.

Like any masterpiece, the "Sistine Madonna" is fraught with many small and large secrets. But the main one lies in the gaze of young Mary. She looks at each viewer, and it doesn't matter where you stand - in the corner of the hall or in front of the painting itself - Madonna is looking at you. And at the same time - far, far, right into the future, foreseeing with a mother's heart the torments that her divine son is about to accept. Maria's gaze is generated by Raphael's brilliant talent. This is an inexplicable miracle, it is impossible to decompose it into its components and then repeat it. But the magic doesn't end there. Pope Sixtus II in 258 was martyred, for which he was canonized. Raphael decided to encode the name of the martyr-pope in his painting. Art critics believe: the artist did it twice. In Latin, the word "sixt" means six. There are exactly six figures in the picture: the Blessed Virgin, Jesus, Pope Sixtus II, Saint Barbara (patroness of the city of Piacenza) and two angels. But this seemed not enough to Raphael: he depicted six fingers on the pope's right hand. You don't immediately understand that the “sixth finger” is actually part of the palm of the holy martyr. In the story, Mary is walking on a cloud, carrying a baby in her arms. One gets the impression that she is floating in the air against the background of swirling clouds in the distance. But if you look closely, out of the haze, as if alive, the outlines of faces begin to appear. It turns out that these are not clouds at all, but hundreds of angels, closed like a living wall behind the back of the Mother of God.

HOMECOMING

In 1754, King August III of Saxony bought the painting from the monastery for 20 thousand zekhin and brought it to his Dresden residence. Since 1831, all museums in Germany have become a national treasure, everyone could visit them. After the Second World War, 1,240 salvaged works of the Dresden Gallery were brought to Moscow so that specialists could restore them. These complex works were supervised by the famous Soviet artist Pavel Korin. The Germans kept repeating: Dresden masterpieces will never see their native land again. But in 1955, the restored works of art were officially returned to the GDR. This is how Raphael's "Sistine Madonna" returned to the Dresden Gallery and to this day attracts numerous spectators.

"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" (Madonna Solly) is so named because it belonged to the British collector Edward Solly. The painting dates back to 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 United States. The painting is dated 1503.

"Madonna and Child Enthroned and Saints" (Madonna col Bambino in trono e cinque santi) is dated 1503-1505. The painting depicts the Virgin Mary with the Christ Child, the 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. "Madonna Diotallevi" is dated 1504. The painting depicts the Virgin Mary with the baby Jesus in her arms, who blesses John the Baptist. John folded his arms over 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" (Madonna Connestabile) was painted in 1504 and later named after the owner of the painting, Count Connestabile. The painting was acquired by the 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. In this picture, you can feel the influence of Leonardo da Vinci. The painting was painted by Raphael in Florence and is still in this city to this day.

"Little Madonna Cowper" (Piccola Madonna Cowper) was written in the years 1504-1505. The painting was named after its owner, Lord Coper. The painting is now in Washington, DC (National Gallery of Art).

"Madonna Terranuova" (Madonna Terranuova) was written in the years 1504-1505. The painting was named after one of the owners - the Italian Duke of Terranuva. The painting is now in the Berlin Art Gallery.

"Madonna Ansidei" (Madonna Ansidei) is dated 1505-1507 and depicts the Virgin Mary with the Christ Child, the adult John the Baptist and Nicholas the Wonderworker. The painting is in the London National Gallery.

Madonna Anside. Detail

"Madonna d" Orleans was written in 1506. The painting is called Orleans, because it was owned by Philip II of Orleans. Now the painting is located in the French city of Chantilly.

Raphael's painting "The Holy Family with the beardless Saint Joseph" (Sacra Famiglia con san Giuseppe imberbe) was written around 1506 and is now in the Hermitage (St. Petersburg).

Raphael's painting "The Holy Family under the Palm" (Sacra Famiglia con palma) is dated 1506. As in the last picture, here are depicted the Virgin Mary, Jesus Christ and Saint Joseph (this time with a traditional beard). The painting is in the National Gallery of Scotland in Edinburgh.

Madonna del Belvedere is dated 1506. The painting is now in Vienna (Kunsthistorisches Museum). In the painting, the Virgin Mary is holding the baby Christ, who grabs the cross from John the Baptist.

"Madonna with the Goldfinch" (Madonna del Cardellino) is dated 1506. The painting is now in Florence (Uffizi Gallery). The painting depicts the Virgin Mary sitting on a rock, while John the Baptist (left in the painting) and Jesus (right) are playing with a goldfinch.

"Madonna of the Carnations" (Madonna dei Garofani) is dated 1506-1507 years. "Madonna of the Carnations", like other paintings of the Florentine period of Raphael's work, was written under the influence of the work of Leonardo da Vinci. Raphael's "Madonna of the Carnations" is a version of Leonardo da Vinci's "Madonna with a Flower". The painting is in the London National Gallery.

"The Beautiful Gardener" (La Belle Jardiniere) is dated 1507. The painting is in the Louvre (Paris). The Virgin Mary in the picture sits in the garden, holding the baby Christ. John the Baptist sat on one knee.

Raphael's painting "The Holy Family with a Lamb" (Sacra Famiglia con l "agnello) dates from 1507. The painting depicts the Virgin Mary, Saint Joseph and the baby Jesus astride a lamb and is currently in the Prado Museum in Madrid.

The painting "The Holy Family of 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 in Munich (Alte Pinakothek).

Raphael's painting Madonna Bridgewater is dated 1507 and is so named because it was at Bridgewater Estate in Great Britain. The painting is now in Edinburgh (National Gallery of Scotland).

"Madonna Colonna" (Madonna Colonna) dates back to 1507 and is named after the owners from the Italian family Colonna. The painting is now in the Berlin Art Gallery.

"Madonna Esterhazy" (Madonna Esterhazy) dates back to 1508 and is named after the owners from the Italian Esterhazi family. The painting depicts the Virgin Mary with the baby Jesus in her arms and seated John the Baptist. The painting is now in Budapest (Museum of Fine Arts).

Grande Madonna Cowper was written in 1508. Like the Little Madonna of Cowper, the painting is located in Washington DC (National Gallery of Art).

"Madonna Tempi" (Madonna Tempi) was written in 1508, named after the owners, the Florentine Tempi family. The painting is now in Munich (Alte Pinakothek). "Madonna Tempi" is one of the few paintings by Raphael of the Florentine period, which does not feel the influence of Leonardo da Vinci.

Madonna della Torre was written in 1509. The painting is now in the London National Gallery.

"Madonna Aldobrandini" (Madonna Aldobrandini) is dated 1510. The painting is named after the owners - the Aldobrandini family. The painting is now in the London National Gallery.

Madonna del Diadema blu is dated 1510-1511. In the painting, the Virgin Mary lifts the curtain over the sleeping Jesus with one hand, while embracing John the Baptist with the other. The painting is in Paris (Louvre).

"Madonna d" Alba is dated 1511. The painting was named after the owner - the Duchess of Alba. "Madonna Alba" for a long time belonged to the Hermitage, 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) is dated 1511-1512 years. The painting is named after the Italian city of Foligno, where it was located. The painting is now in the Vatican Pinakothek. This painting was painted by Raphael commissioned by Sigismondo de Conti, secretary of Pope Julius II. The customer himself is depicted in the painting on the right, he is kneeling before the Virgin Mary and Christ, surrounded by angels. 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 dei Candelabri (Madonna dei Candelabri) is dated 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).

"Sistine Madonna" (Madonna Sistina) is dated 1513-1514 years. The painting depicts the Virgin Mary with the Christ child in her arms. To the left of Our Lady is Pope Sixtus II, to the right is Saint Barbara. "Sistine Madonna" is in the Gallery of Old Masters in Dresden (Germany).

"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 della Seggiola (Madonna della Seggiola) is dated 1513-1514. The painting depicts the Virgin Mary with the infant Christ in her arms and John the Baptist. The painting is in the Palatine Gallery in Florence.

Madonna della Tenda (Madonna della Tenda) was written in the years 1513-1514. The name of the painting was given because of the tent where the Virgin Mary with the Christ Child and John the Baptist are located. The painting is in the Old Pinakothek in Munich (Germany).

"Madonna of the Fish" (Madonna del Pesce) was written in 1514. The painting depicts the Virgin Mary with the Christ Child, Saint Jerome with a book, as well as the Archangel Raphael and Tobias (the character of the Book of Tobit, to whom the Archangel Raphael bestowed a wonderful fish). The painting is in the Prado Museum in Madrid.

"Walk of the Madonna" (Madonna del Passeggio) is dated 1516-1518. The painting depicts the Virgin Mary, Christ, John the Baptist and St. Joseph not far from them. 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, now the painting is in the Louvre. The painting depicts the Virgin Mary with the infant Christ, Saint Joseph, Saint Elizabeth with her son, John the Baptist. Behind - the figures of two angels.

Raphael's painting "The Holy Family under the Oak" (Sacra Famiglia sotto la quercia) dates from 1518 and depicts the Virgin Mary with the Christ Child, St. Joseph and John the Baptist. The painting is in the Prado Museum in Madrid.

Madonna della Rosa (Madonna della Rosa) is dated 1518. The painting depicts the Virgin Mary with the infant Christ, who receives a parchment from John the Baptist with the inscription "Agnus Dei" (Lamb of God). Behind all 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 "The Small Holy Family" (Piccola Sacra Famiglia) is dated 1518-1519. The painting depicting the Virgin Mary with Christ and Saint Elizabeth with John the Baptist is named "The Small Holy Family" in order to distinguish it from the painting "The Large Holy Family" ("The Holy Family of Francis I"), which is also in the Louvre.

Raphael's unparalleled creative take-off is crowned with the "Sistine Madonna", which marked the final stage in the formation of his artistic method. The painting became a synthesis of many of the artist's findings and completed the evolution of the image of the Madonna in his work. Read about the painting by Raphael Santi "The Sistine Madonna" in our article.

The composition of Raphael's Sistine Madonna is simple: the figures form a triangle, and the two-part green curtain covering the upper corners of the painting emphasizes the pyramidal structure of the composition. The open curtain symbolizes the unfolded heaven, and its green color represents the mercy of God the Father, who sacrificed his son for the salvation of people. Raphael presented the appearance of the Mother of God as a visible miracle, using an open curtain for this. In such scenes, the curtain is traditionally supported by angels, and in the "Sistine Madonna" the curtain seems to be pulled apart by the Holy Spirit.

The Sistine Madonna by Raphael Santi

The composition is so perfect, the foreshortening of the picture is so precisely found that it creates the feeling of being present at the sacrament. And this "effect of presence" is one of the main findings of Raphael in the "Sistine Madonna". The rhythmic structure, which is achieved due to the special compositional arrangement of the characters, focuses on the Madonna and Child in the center of the picture. The figure of the Virgin Mary, first depicted by the artist in full growth and almost life-size, looks more majestic here than in other canvases by Raphael dedicated to the Mother of Jesus. This is the only time that Madonna looks directly into the eyes of the viewer. Madonnas' gaze in the artist's previous canvases was never turned to anything outside the painting. Only in Raphael's Madonna della Sedia do the characters look at the viewer, but the artist does not reveal the full depth of their experiences. And the serious, elusive look of the "Sistine Madonna" conveys a wide range of human feelings: motherly love, confusion, hopelessness and anxiety for the future fate of her son, which she - a seer - already knows. It seems that time has stopped, consciousness narrowed and concentrated on this moment. According to ancient Italian tradition, the "Sistine Madonna" was placed on the main altar in St. Sixtus church opposite the wooden crucifix, so the faces of Mary and the Child reflect the feelings they experience at the sight of the martyrdom of Christ.

"Mary and the Child", detail from the "Sistine Madonna", Raphael Santi

According to art historian Stam: “His (the Christ Child) forehead is not childishly high, and his eyes are not childishly serious at all. However, in their gaze we see neither edification, nor forgiveness, nor reconciling consolation ... his eyes look at the world that has opened before him intently, tensely, with bewilderment and fear. "

Having chosen for his painting the composition “Holy Conversation”, which was already widespread at that time, Raphael introduced an innovation that made his image unique. According to tradition, the composition of the "Holy Conversation" assumed the image of the Mother of God in real space, surrounded by various saints standing in front of her. Raphael presented the Mother of God in an ideal space, lifting her from earth to heaven. The fact that the Mother of God is an unearthly phenomenon is evidenced by the ease with which Mary walks through the clouds, while Pope Sixtus and St. Barbara "drown" in the clouds. Usually, the Mother of God was depicted as seated, and Maria Raphael descends to the ground to the people, St. Sixtus points at them praying in the church. Mary brings people the most precious thing that a mother - her child - can have, and, as she knows, for suffering and death. In this lonely procession of the Mother of God, all the tragic sacrifice to which she is doomed is expressed. So Raphael gave the Gospel legend a deep human content - the lofty and eternal tragedy of motherhood. This is why the expression on Mary's face is so difficult. The dramatic and expressive image of Mary is not idealized, the artist endowed the Mother of God with both earthly features and religious ideality.

"Pope SixtusII", A fragment of the" Sistine Madonna ", Raphael Santi

On the left side of the picture, kneeling St. Sixtus gazes reverently from the edge of a cloud at the heavenly image of the Madonna and Child. His left hand, as a sign of devotion to the Mother of God, is pressed to his chest, he asks her for the intercession of those praying in front of the altar. As a sign of reverence to Mary, the papal tiara was removed from the head of the pontiff, consisting of three crowns, which symbolize the kingdom of God the Father, the Son and the Holy Spirit. The tiara is crowned with the acorn, the heraldic symbol of the Rovere family, and oak leaves are embroidered on Sixt's golden mantle. About Pope SixtusII very little is known; he remained on the holy throne from 257 to 258. During the persecution of Christians in Rome under the Emperor Valerian, Pope SixtusIIwas executed by beheading. Raphael endowed Pope SixtusII features of Pope JuliaII, his patron. According to legend, SixtusII before death, the Mother of God appeared with St. Barbara, who relieves the suffering of the dying.

"St. Barbara ", a fragment of the" Sistine Madonna ", Raphael Santi

On the right, Raphael wrote to St. Barbara, who was considered the patroness of Piacenza. This holy great martyrIII century, distinguished by extraordinary beauty, secretly from her pagan father, she converted to the Christian faith. By order of the emperor, for her adherence to Christianity, she was beheaded by her own father Dioscoros. Barbara was numbered among the saints and since then is considered the patroness of the tormented. The downcast look of the kneeling St. Barbara and her posture express humility and reverence.

Raphael depicted clouds in the form of angels singing the glory of the Lord. And the two dispassionate angels at the bottom of the picture symbolize the inevitability of Divine Providence: Christ cannot change his fate and avoid the intended painful death.

Angels, detail from the Sistine Madonna, Raphael Santi

The Sistine Madonna has become a classic of world art. “Different generations, different people saw their own in the Sistine Madonna. Some saw it as an expression of only a religious idea. Others interpreted the picture from the point of view of the moral and philosophical content hidden in it. Still others appreciated artistic excellence in her. But, apparently, these three aspects are inseparable. " (VN Grashchenkov, author of the book "Raphael").