Madonna Reception Children. Pearls of the Hermitage
If you pronounce the word "Madonna" and ask the interlocutor about the association, which it caused, most likely the answer will sound that this is an American pop diva, and only then will remember the divine meaning. Alas, these are realities of life. We know better what we regularly write tabloids, show screens and monitors.
Superstside Madonne, born in 1958, in August 2017 will be 59 years old. Her life during the years of climbing and staying on the modern musical Olympus has changed. Today there is less climbing in the images, although it is still eccentric. Age affects, and, of course, not the last role plays the fact that it is the mother of four children.
Madonna herself (Louise Chikkone) grew up in a large family and wrecked his mother early. In confrontation with the stepmother, many features of her character, which allowed to become a bright star, decades holding afloat in a restless sea show business.
Many stars, thinking about the career, do not give birth to children, and Madonna decided to become a mother in 38 years. In October 1996 she had a daughter of Lourdes. Father became coaching Cuban Carlos Leon, the marriage did not conclude with him. Two years later, in 1998, Madonna agreed with the British director Gair Richie, and in August 2000 the Son Rocco appeared at the pair.
Madonna's native children today are almost adults: in 2017, Lourdes will be 21 years old, and Rocco is 17 years old. They grew up under the closer attention of the mother, who apparently remembering the commitment of their early deceased Mother of Religion and family values, brought up their loving, but not balusa. Madonna with any of the men left for a long time, but her children are friendly with their fathers.
What is the true reason: in compassion, in love for kids or in a desire to once again make talk about themselves (this journalists suspect) - it is unknown, but Madonna adopted two black children. In 2006, David Gang, who was a little over a year, and in 2009 - Mearci James. They are both of the poorest African state of Malawi, where, according to the law, it is impossible to give children to adoption to foreigners. Madonna had to make efforts to achieve the goal.
The star is still popular. New novels arise, but children are the most important thing in her life. Native matured Lourdes and Rocco choose their way in life, the mother helps them, despite the fact that not everything is smooth in the relationship. Together with her daughter, they released a line of clothing, the son is fond of modern dancing and has already performed as a dancer along with Madonna. Black kids have grown, today they are 11 and 10 years old, they participate in the creative ideas of the adopted mother, and Macy is quite successful for her age engaged in gymnastics.
In 2016, the media actively discussed the theme of the adoption of the Madon Four-year-old Twins from Malawi Esther and Stella, trying to understand why it was necessary for Pop Div and what awaits children in the family, where difficult relationships. But this is done by many stars, proving that orphanhood is hardly the worst thing that can be with children in life.
Even in the era of the Renaissance drawings, sometimes, the works of art themselves were considered. It was not always the sketches to the canvas. And we believe that it is so in the case with a big Etude Leonardo da Vinci, usually called "Madonna with a baby Christ, St. Anna and St. John the Baptist," because there is no punctures along the contour. Yes, although the drawing is not completed. Therefore, it is not clear which quality should be considered. There would be traces of punctures or outlined points, so that Leonardo could make the contours of the figures and move them to the ground on the wall or on the panel to create the work itself. Although, the use of Leonardo technique is so far from the traditional, for more linear painting Renaissance it would be much more problematic. The main outlines are required. And its construction of the figure is often based on chiaroscroo technique, or lighting. - Sphumato. - And here contours are softened and blurred, therefore the idea of \u200b\u200ba simple line, according to which punctures can be carried out, it seems absurd. This is true. Leonardo was much more interested in these gradual transitions from the shade to the light and the transition back. So the images seem in bulk and majestic. As well as merging them into a single whole. Figures form a kind of stable pyramid. And this is one of the features of the Renaissance era. Stability, inviolability, inherent eternity, divine images ... please ... did you want to say something? Just celebrate this interesting contrast. Since on the one hand, we are transferred to the feeling of pure perfection, the concept of eternal, infinitely spiritual. On the other hand, we see such unity between the images of St. Anna and the Virgin Mary, between Christ and John the Baptist. This is a manifestation of humanity. It is incredibly human, and incredibly valuable. And it seems to be diverted with the concept of eternal. Yes. It is both. This is what Leonardo is achieved, right? It connects the human and divine. I consider this criterion for the achievements of Leonardo in high rebirth. There are so many beautiful moments here. Let's say, how delightfully handed over the appeal of St. Anna to the Virgin Mary, sat down on her knees. There is a certain rhythm in the location of the knees. - Yes. - Down, up, down and again up. Feels musical rhythm. It seems to me that Leonardo definitely applied to the classic sculpture. Because draping is very similar to the like in ancient Greek and ancient roman sculptures. The difference between the age of the characters is felt. We can understand how Leonardo worked, especially if you pay attention to the contrast between the face of St. Anna and her hand, far from completed, and very linear. St. Anna points upwards by passing the idea that this is part of the divine plan that Christ and his future self-sacrifice is part of the Divine Plan of Salvation of Humanity. Look at the bending of the Hand of Christ and the gesture of the blessing of John the Baptist. It is actually continued by the pointing gesture of St. Anna. - Yes. - That is, this is one mpnom movement. That is, Christ literally follows the gesture of St. Anne. It starts from the line from the shoulder of the Virgin Mary, continues Christ and ends with an indication of heaven. The movement begins with the view of St. Anna, facing Maria. - Right. - Then the hand of the Virgin Mary, as you said, bent in the elbow, continued by the hand of Christ. And what we have now described, an excellent example is so important for Da Vinci unity. Images are connected, merge, the more we contemplate the picture. We can start with John the Baptist, looking up on Christ, then look up at the Mary of Maria, the eyes down to his son, and raise a glance at St. Anna, looking at Mary Mary. This is true. It is traced a kind of path made by her gaze, ultimately leading to heaven. What is certainly, it makes sense of this work. Subtitles by The Amara.org Community
Rafael, perhaps, the most popular and widely appreciated artist Italy of the Renaissance, was a man of a wide variety of talents. He changed Bramte As an architect of the Cathedral of St. Peter, watched the excavations of the ancient Roman antiquities, performed monumental frescoes, brilliant religious compositions and portraits. However, it is best known as an artist Madonn, and his unsurpassed popularity in subsequent generations has been created mainly by harmony and the beauty of the images of the Virgin. He portrayed Madonna as a heavenly creature, which at the same time consisted of flesh and blood. The paintings of Rafael Madonna are represented in a wide variety of types: on the throne, soaring in heaven, against the background of a natural landscape or in the inner interior, together with the infant Christ or surrounded by the saints.
Raphael. Madonna with baby and saints, approx. 1502.
Tree, oil. 34 x 29 cm. Berlin art gallery
This picture, close to the spirit to pacifying art Perugino, also known for the name Madonna von der Ropp. Rafael presented here the Mother of God with a blessing baby Christ surrounded by Saints Jerome and Francis.
Raphael. Madonna with infant and saints. OK. 1502.
Raphael. Madonna Solly, OK. 1502.
Tree, oil. 52 x 38 cm. Berlin Art Gallery
Before arriving in Florence, Rafael has already created small prayer images of Madonna with a baby, associated with the then popularity of various versions of Perugino's paintings. An interesting series of this type can be seen in several examples of 1502-1504, written on the theme of Madonna with a book. These are the pictures of Madonna Solly (now in Berlin, previously belonged to the Englishman Edward Solly), "Madonna Norton Simon" (in California) and "Madonna Concreate" (in St. Petersburg).
Raphael. Madonna Solly, OK. 1502.
On the painting "Madonna Solly" Virgo Maria reads, and the baby Christ turns his head towards her book. In his hands, he has a championship - a prototype of his future passions, and Virgo Maria reads prophecies about them.
Raphael. Madonna dotallia. OK. 1504.
Tree, oil. 69 x 50 cm. Museum Bode, Berlin
This Madonna had once been in the Collection of Dotallia Rimini. At one time it was believed that it was written by Perugino, but then the authorship of Raphael became almost generally accepted. Only art historian Adolfo Venturi believes that Madonna dotalleva is created by some third, unknown master.
Virgo Maria is depicted here not to the whole growth. Christ sits at her knees, and John the Baptist stands nearby.
Raphael. Madonna dotallia. OK. 1503.
In this Madonna of Raphael, the echoes of gothic painting are still strong. They are especially noticeable in the too small head of Mary. Sitting at her knees, Jesus blesses the baby John the Forerunner. Landscape something resembles the art of northern masters
Although the composition "Madonna dotellile" and the types of its characters resemble the style of Perugino, its strict simplicity and bright colors can be recognized as characteristic features of the art of Rafael.
The background "Madonna dotalleva" is typical for the Umbrian school: these are remote, barely distinguishable hills discharged in gentle, clear air.
Raphael. Madonna with baby. OK. 1503.
Madonna holds the baby of Christ with great tenderness. They both read the characters together, which is open on the prayer of the nine hour after dawn - the hour of the Annunciation, when Virgo learned that she would give birth to the Messiah. But the ninth hour was also an hour of death of Jesus on the cross. Pick up from reading, Madonna and her son look thoughtfully on each other, with the thought of the upcoming events.
Raphael. Madonna with baby. OK. 1503.
This picture of Raphael is also known as "Madonna Norton Simon" - in its location in the Museum of Norton Simon (Pasaden, Los Angeles suburb, USA).
Raphael. Madonna on the throne with baby and saints. Altar of the column family. 1504-1505
Television and gold on the tree. 172 x 172 See Metropolitan Museum, New York
This panel and lunetic are relatively early work of Raphael and are also known as the altar of the column family. It is written for the monastery of St. Anthony of Paduansky in Perugia. Raphael began this picture when he was barely 20 years old, just before leaving Florence (1504) and completed it next year after returning to Perugia.
Raphael. Madonna on the throne with baby and saints. Altar of the column family. 1504-1505
The influence of the teacher of Rafael, Perugino, can be seen in the conservative composition. Nevertheless, Rafael managed to invest in this closely located latitude and dignity, which he learned from the works of Fra Bartolomeo in Florence. Especially beautiful is the way that the figures fill the curved form of the Lune. On the sides of Our Lady and Christ are the Baby John Baptist, Saints Peter, Catherine, Cecilia (?) And Paul.
Raphael. Madonna Granduk. 1504.
Tree, oil. 84 x 57 cm. Gallery of the Palatina (Palazzo Pitti), Florence
"Madonna Granduk" was written by Raphael at the beginning of the Florentine period of creativity. The figures of Our Lady and Baby seems to appear from a dark background (an element, obviously borrowed from Leonardo da Vinci). They are connected to each other with a sense of tender love, which is visible primarily in the gesture of the child: looking towards the viewer, he presses his mother.
Raphael. Madonna Granduk. 1504.
"Madonna Granduk" is one of the most beautiful creations of Raphael early period. The interpretation of the image of the Blessed Virgin Rafael was adopted by subsequent generations as the same "reference" as Michelangelo developed the concept of God Father. Such pictures like "Madonna Granduk" are recognized as truly "classic" in the sense that they served countless generations by the standard of perfection, as before the works of Fidiya and Praxitor.
If we compare the "Madonna Granduk" of Rafael with countless canvas the same topic of his predecessors, then you feel that they all were just the search for the perfect simplicity, which Rafael finally reached. It seems that the image of Madonna and Christ cannot be otherwise he existed from the beginning of time.
Raphael. Madonna Contest (Madonna with a book). 1504.
The canvas, transferred from the tree. Diameter 17.9 See Hermitage St. Petersburg
"Madonna Concatented" - a picture from the Lame of Our Lady with a book. It also includes "Madonna Solly", "Madonna Norton Simon" and other works of Raphael.
The family of graphs of the Concreate of Perugia in 1871 sold the miniature "Madonna Concreate" by the Russian king Alexander II, who presented it with his wife, Queen Maria Alexandrovna. So the picture fell into St. Petersburg Hermitage.
Raphael. Madonna Contest (Madonna with a book). 1504.
Already before working on the "Madon Concreatement" Rafael had to face the problem of creating round compositions. In this round picture, it provided suitable accommodation of the figures by combining the vertical figure of the Madonna and horizontal lines of the landscape.
When the "Madonna Concreate" is transferred from a tree to canvas at the end of the 19th century, it was discovered that at first instead of a book in his hands the man of God was the fruit of a pomegranate, personified the blood shed in Christ's martyrdom.
Soviet leaders, widely soldered the artistic treasures of pre-revolutionary museums for the currency, taken to the europe and Madonna Concontabille of Rafael. Fortunately, the buyer was not found at that moment, and the picture remained in the Hermitage.
Raphael. Madonna Concreatel (with Frame). 1504.
The luxurious frame "Madonna Concreate", apparently, was also performed on the sketch of Rafael.
Raphael. Madonna with a baby (Small Madonna Caupier). 1504-1505
Oil, tree. 58 x 43 cm. National Art Gallery. Washington
Small Madonna Caucawaer is called, because she was less than two Madonn Rafael owned by the English collector Lord Cauper. This picture was written by Raphael at the age of 22. It reflects not only the strong influence of his Umbrian teacher, Perugino, but also his Florentine rivals, Leonardo da Vinci and Michelangelo.
Raphael. Madonna with a baby (Small Madonna Caupier). 1504-1505
Small Madonna Caucawaer is a more analytical option for homogeneous and internally durable Madonna Granduk. The influence on Rafael Leonardo is felt here in a wide, soft landscape. Landscape of small Madonna Caucawaer includes a small church with a cylindrical dome - perhaps a hint of the architecture of Bramte. It is possible that this is the Franciscan Monastery of San Bernardino near the hometown of Rafael, Urbino.
Raphael. Madonna Terranova. OK. 1505.
Tree, oil. Diameter 86 cm. State Museums, Berlin
The perfect form of the circle was popular in the fifteenth and early sixteenth centuries as a symbol of cosmic harmony. Rafael used it in his picture "Madonna Terranova". Jesus Christ is shown here with the infant John the Baptist and another Holy Baby on the right. The triangle formed by the Virgin Mary and two standing boys is characteristic of high rebirth.
Raphael. Madonna Terranova. OK. 1505.
On the scroll, which is kept Jesus and John the Baptist written Latin text: "Here is the Lamb of God." These are the words spoken by John during the baptism of Christ.
Raphael. Madonna in the greenery (Madonna Belvedere). 1506.
Tree, oil. 113 x 88 See Museum of Art History Vienna
The painting "Madonna in Green", referred to as "Madonna in the meadows" and "Madonna Belvedere", depicts an apocryphic meeting between the babies Jesus and John the Baptist. Rafael represents the boy-Christ boy by the host cross from John.
Raphael. Madonna in Green, 1506
Located "Spinningly" figures of two children clearly reflect the shaped methods of Michelangelo. The pyramid structure of the group of active persons "Madonna in Zelenni" causes in the memory of Leonardo da Vinci. But in Leonardo, Rafael's surround-borrowed concept gives its own characteristic idyllic serenity.
Raphael. Madonna with a junk. 1507.
Tree, oil. 107 x 77 cm. Gallery Uffizi, Florence
"Madonna with a shcheler" was written by Raphael for his friend, rich merchant Lorenzo Nazi. This picture was seriously damaged after the partial collapse of the Nazi house during the collapse of the San George Mountain (1548). Subsequently, Ridolfo del Girlandayo was restored "Madonna with a shcheler".
The baby Christ loves the shoe, who stretches his boy John the Baptist. At first glance, you can see a simple game of children, however it is impossible to forget that the scoop in the symbolism of the Renaissance was the personification of passions (for this bird feeds in the thorns). Shcheggles here - a symbol of the future passions of Christ, and the face of the baby Jesus, who receives from John Chick, is very serious.
Raphael. Madonna with a scale. 1507.
The composition of this painting of Raphael almost repeats "", but with the essential difference that children in the "Madonna with a shchegg" are closely combined with the central figure of the Virgin. The color of this picture is more alive than the "Madonna in Green". Landscape, with an amulent roof and high spiers, unusual for Mediterranean Italy, reflect the influence of Flemish art. The image of a baby, based on barefooted fingers on the leg of the Virgin Mary, is clearly inspired by Michelangelo shortly before this statue of Madonna Brugge.
According to Vazari, Christ and John the Baptist in the painting "Madonna with a junk", "form a group full of some kind of child ease and at the same time deep feeling, not to mention the fact that they are so well performed in color and so carefully discharged that seem to be consisting of live flesh, and not made with the help of paints and drawing. "
Raphael. Madonna with a baby and John the Baptist (beautiful sadman). 1507.
Tree, oil. 122 x 80 cm. Museum of Louvre, Paris
The composition of the "Beautiful Sadman" is a mirror reflection of "Madonna in Green". Rafael did not complete this picture, and she, according to legend, was completed by Ridolfo del Girlandian. Later, the "beautiful gardens" acquired the king of France Francis I. This picture is known primarily by the harmonic and proportional balancing of the views of the figures. The face of the Virgin from "Beautiful Sadman" served as a model of beauty for many generations of artists.
Raphael. Madonna with a baby and John the Baptist (beautiful sadman). 1507.
"Beautiful Saddleman" is the culmination of all Florentine Madonn Rafael.
Raphael. Madonna Bridgewater. OK. 1507.
Canvas, oil, transferred from the panel. 81 x 57 cm. Scottish National Gallery, Edinburgh
Technical studies of the painted surface of the "Madonna Bridgewater" during the restoration showed that the picture was at first there was a natural landscape. Its eliminating and replacing the setting in the dark interior allowed Raphael to focus the attention of the viewer on two central figures, with a dramatic accent on the contrast of light and darkness.
Raphael. Madonna Bridgewater. OK. 1507.
The body of the child of Jesus in the "Madonna Bridgewater" is thoroughly modeled to achieve a durable, surround effect, which gives it sculptural qualities. The sculptural strength and double "twist" of the baby are probably inspired by the influence of the work of Michelangelo Tondo Taddey.
Raphael. Madonna Canijani (Holy Family of Canijani). 1507.
Tree, oil. 131 x 107 cm. Old Pinakotek, Munich
The name of the picture comes from the Florentine family of Canijani, which at first owned this work of Raphael. Madonna and Righteous Elizabeth (Mother John the Forerunner) are sitting on the grass with their children. Joseph Wrap stands above them.
Raphael. Madonna Canijani (Holy Family of Canijani). Version after the restoration of the juber von Sonnenburg
The pyramid, in which the figures of the "Madonna Canijani" perfectly fit, borrowed from Leonardo da Vinci, but the mutual feelings between the participants between the scene, expressed by their views and a common serene mood, give the composition a quiet descriptive character. Therefore, the general tone of the picture is quite different from the tense and agitated art of Leonardo.
In 1982, the German restorer Yuber von Sonnenburg took the restoration of the "Madonna Canijani" and removed the distorting blue layer of paint, applied in the XVIII century in the sky. Now you can see the original concept of Raphael, with Putti (angels) on the left and right above.
Raphael. Madonna under the canopy. 1507-1508
Canvas, oil. 276 x 224 cm. Palatinsk Gallery (Palazzo Pitty), Florence
Universality and inexhaustible diversity of the art of Rafael allow him to move in its paintings from simple forms to more monumental and complex, from a relaxed mood to powerful emotionality.
An example of its complex and emotional work is Madonna under the Baldakhin. Her monumental composition is borrowed in part from the Venetian tradition, partly from Fra Bartolomeo. Apside Churches strongly resembles large compositions of the great Venetian Giovanni Bellini, and the influence of FRA Bartolomeo is manifested mainly in monumentality and in the poses of the figures.
Raphael. Madonna under the canopy. 1507-1508
The semicircular location of the saints around Madonna and the excitation of flying angels, which hold the curtain of the canvine, give a feeling of free air circulation. All the figures of Madonna under the Baldakhin are delivered differently and express a wide variety of feelings. In the future, it will be even brighter demonstrated in large descriptive compositions of Rafael, which it will create for the Vatican.
The Virgin sits on the throne under the canchine. Saints Peter and Bernard are on the left of her, and the Holy AugustineAnd, probably, the Holy Jacob Senior (Zevedheyev) is right.
Raphael. Holy Family with Lamb. 1507.
Tree, oil. 29 x 21 cm. Prado Museum, Madrid
A small picture of the "Holy Family with Lamb" is intended for personal worship and refers to the Florentine period of the Creativity of Rafael, before he went to Rome. In Florence, a young artist sought to assimilate the style of such masters as Leonardo and Early Michelangelo. But the miniature subtlety and calm of the "Holy Family with Lamb" resurrects in memory the period of the initial training of Rafael in Umbria in Perugino. Here is also acquainted with his acquaintance with the Netherlands painting, especially explicitly in the landscape.
Raphael. Holy Family with Lamb. 1507.
There are several versions of this picture. All of them depict Madonna Supporting Christ, who sits riding on Lamb - with the figure of the old man of Joseph, which dominates others. This version, from the Prado Museum (Madrid), was later marked with the words of Raphael Urbinas MDVII on the decollete of the Virgin. Art historian Pedretti notes that the version of the "Holy Family with Lamb", located in Vaduts, signed 1504, so, apparently, it is necessary to consider it original.
Raphael. Big Madonna Caucola (Madonna with a baby). 1508.
Tree, oil. 81 x 57 cm. National Art Gallery, Washington
The dominance of lyrical and elegant began over religious content allows to attribute this picture (also known as Madonna Nickolini - Caucola) to the Florentine period of the creativity of Rafael, 1505-08. And in fact, it is signed and dated 1508 year - the end of the stay of Rafael in Florence. Date 1508 and the monogram of the artist "RV" are placed in the embroidery of the Dresses of the Virgin. The name "Madonna Nickelini - Caucawaer" comes from the names of two former painting owners.
Volumented, well-formed figures talk about early influence on Rafael Michelangelo, and soft modeling and the use of lighting - about the effect of Leonardo da Vinci. More clearly in this Madonna, the impact of Fra Bartolomeo.
Raphael. Madonna with a baby (Big Madonna Caucawaer). 1508.
The composition "Big Madonna Caucawaer" is extremely simple. The whole scene comes down to the movement of the baby, which stretches with his hand to the Virgin Mary, and looks at the viewer with his eyes, and the gesture with which Madonna holds his hand in his chest. Here, for the first time, a feeling of disturbing motherhood appears, which Rafael will express even greater force in the "Madonna Tempi" (old Pinakotek, Munich).
Raphael. Madonna Tempi. 1508.
Tree, oil. 75 x 51 cm. Old Pinakotek, Munich
The sense of maternal alarm, enhanced by the alarming premonition of the future, is strongly expressed by Rafael in Madonne Tempi. She looks only at him, but Christ himself looks at the viewer and this attracts us to this intimate stage.
Raphael. Madonna Tempi. 1508.
Two figures "Madonna Tempi" are conceived as a single group that determines the entire visual effect of the scene. The Madonna Madonna, bloated by the wind creates the effect of movement. Two contradictory goals: the need of an artist in formal beauty, on the one hand, and emotional / ply truthfulness of figures, on the other, are achieved in the "Madonne Tempi" by demonstration of the sense of tenderness of the mother to the child.
The name of the picture comes from the Florentine surname Tempi, which this Madonna originally belonged.
Raphael. Madonna Estergazy (Madonna and a baby and a child John the Baptist). OK. 1508.
Tree, temperature, oil. 29 x 22 cm. Budapest
Rafael placed his elevated and beautiful Madonn in the middle of the idealized green landscapes. It demonstrates a surprisingly sophisticated small panel "Madonna Estergazy" (now stored in Budapest). She was written at the beginning of the artist's stay in Rome. The incompleteness of this work discloses some of the details of the process of its creation. The idyllic atmosphere of the landscape with Roman architectural motifs complements the harmony of figures and color.
Raphael. Madonna Estergazy (Madonna and a baby and a child John the Baptist). OK. 1508.
This picture of Raphael was presented by the wife of Emperor Karl Pope by the XI Clement. Later, perhaps as a gift to Empress Mary Teresia, she passed into the possession of Prince Kaunitsa, and from him, in the XVIII century, in the collection of Prince Estergazi - hence the name "Madonna Estergazy". Numerous reproductions indicate the popularity of this picture. The preparatory sketch of Rafael is stored in the Uffiz Collection.
Raphael. Madonna Ansidia (Madonna and Baby, Altar Ansidia), OK. 1505.
Tree, oil. 209.6 x 148.6 cm. National Gallery, London
The light landscape background and the high Balladakhin "Madonna Ansidi" remotely resemble the art of Piero della Frances, but the types of figures are psychologically more complex and structurally more voluminous. The picture generates senses of monumentality and harmonic proportions, permanent in the late art of Rafael.
Ansidia Altar had a limit with three panels. They were depicted by the preaching of John the Baptist, the wedding scene of the Virgin and the illustration for the legend about the salvation of the Saint Nikolai the wonderworker of sailors.
Raphael. Holy Family with Bezboro Joseph. 1506.
The temperature on the canvas is transferred from the tree. 74 x 57 See Hermitage, St. Petersburg
One of the versions of the Holy Family written by Raphael. Its peculiarity is that the Holy Joseph, depicted usually with a beard, is represented here without fabric. There is a suggestion that it is one of the two mentioned vazari paintings, which were made by Raphael in Urbino for Guidobaldo da Montefeltro.
Raphael. Holy Family with Bezboro Joseph. 1506.
The way the Joseph is depicted in this picture is very characteristic of the portraits of individuals and unusual for the iconography of the saints, "the hypothesis gave rise to that in this case one of his contemporaries served as a prototype for Rafael. More likely, however, that the artist was inspired by the images of the old people made by Leonardo da Vinci.
Raphael. Madonna Column. OK. 1508.
Canvas, oil. 77 x 56 cm. State Museums, Berlin
The painting of Raphael "Madonna Colon" is named after the Roman Prince of Surname, from which several dads came out. Written in 1508, in the first year of stay of Rafael in Rome, this Madonna is performed in surprisingly bright colors. This suggests that the picture may not be fully completed.
Raphael. Madonna Column. OK. 1508.
Baby Jesus Distrants Mary Maria reading. He looks at the viewer, stretching his hand to the Neckline of Madonna and clearly wanting her to feed him. The twist of the figures ("Torsion") borrowed from the Great Florentine Masters strongly removes this picture of Raphael from the self-sufficient, static world of his first teacher, Perugino.
Raphael. Madonna Loreto (Madonna with a veil). 1509-1510
Tree, oil. 120 x 90 cm. Conde Museum, Chantius, France
This image of Madonna was transferred to the Roman Church of Santa Maria del Popolo Dad Julia II. The picture with a strong later upper layer of "corrections" until 1979 was associated with the name of the artist Penny, but then he was recognized as the undoubted work of Raphael.
Raphael. Madonna Loreto. 1509-1510
"Madonna Loreto" is one of the most frequently copied works of Raphael. The number of famous copies from her close to 120. The name "Madonna Loreto" comes from one - now lost - a copy in the Roman Basilica of Santa Ca di Loreto. This copy and was considered a very long of the original picture of Raphael.
Raphael. Sistine Madonna. 1513-1514.
Canvas, oil. 270 x 201 See Gallery of Old Masters, Dresden
On the canvas with the Virgin Mary, Baby, Saint Sikst and St. Barbarian, usually called the "Sicstine Madonna", the characters are located in the imaginary space that they themselves also create. Figures stand on the bed from the clouds framed by heavy curtains that are open in both directions. Madonna, as it were, comes out of the sky through the plane of the painting in the actual world, to the viewer. The gesture of the Saint Syksta and the view of St. Barbari is aimed at believers, which Raphael suggests located behind the balustrade at the bottom of the picture. Papal Tiara, lying at the top of this balustrade, plays the role of a bridge between real and picturesque spaces.
Raphael. Sicstinskaya Madonna, 1513-1514
"Sicstinskaya Madonna" probably intended to decorate the tomb pope Julia II.. Saint Sikst was a patron saint of this dad (della Rovert), and the holy barbarian and two winged "genius" at the bottom of the picture symbolized the funeral ceremony. This rope of Rafael was kept in the monastery of St. Sict in Piacense, and then was presented by his monks to the King Saxon, Augustus III. After the surrender of Germany in World War II, "Sicstinskaya Madonna" was transported to Moscow, but later returned to Dresden.
Two winged Putti with the "Sicstinian Madonna" Rafael are probably the most famous picturesque angels. They are already half a thousandth. Their continuous success that has not been weakened to this day, apparently, in the fact that in these figures Rafael connected a true Christian religious feeling with pagan and secular motifs, baby mischief with high art.
Angels with "Sicstinian Madonna" were repeatedly reproduced in different variations on other picturesque canvases, in books, newspapers and magazines.
Moved with his four younger children in Portugal. This is the Quinta Do Relgio Palace, a cultural heritage and a landmark in the resort town of Sintra not far from Lisbon. Now family lives in the 18th century palace with 12 bedrooms and luxurious rooms with baroque furniture.
Children Madonna
The singer has six children - two relatives and four receptions.
She regularly publishes photographs of his new life in Portugal: Shows younger daughters, five-year-old Esther and Stella.
They cook a birthday cake in the kitchen, they are posing next to their drawings on the doors, they listen to how their elder brother David (he is 12 years old) plays a piano.
David has a tendency not only to music. He is also a talented football player.
After David began playing for the youth team of the Portuguese club Benfica, Madonna had to divide his time between Portugal, the USA and the United Kingdom.
Palace Madonna
In his Palace, the singer is surrounded by memorable things and gifts.
For example, she has a pillow with an autograph of her close friend Michael Jackson. There it is written something about the "submitting dirty press", and then these words go: "They are lying. Disable all tabloids. I very love you. You will always be in my heart".
Baroque furniture and Chinese rugs - traditions and comfort.
The kitchen interior is unusual and memorable.
Madonna also has the eldest daughter of Lourdes (21 years old), which lives in the USA, and the son of Rocco (17 years old), who lives in London with his father Ham Richie and the stepmother Jacques Einsley. Next, the son of David (12 years old), Daughter Mersi (11 years old) and the five-year twins Stella and Esther. Four younger - with mom in Lisbon.
In this creative family, constantly music, then dancing.
Madonna often publishes the video on which her children are dancing.
Leonardo da Vinci "Madonna with a baby" (Madonna Litta), 1490 - 1491, canvas, tempera. 42x33 cm, State Hermitage, St. Petersburg
The picture is executed, obviously, in Milan, where the artist moved in 1482. It refers to the number of works, the appearance of which marked the new stage in Renaissance art - approval of the style of high rebirth. A lovely woman, a nursing baby, appears to the personification of maternal love as the greatest human value.
The composition of the pattern is concise and balanced. Figures of Mary and Baby of Christ are simulated with the finest light. In the openings of symmetric windows, an endless mountain landscape opens, reminding about the harmony and the grandeur of the universe. The very figure of Madonna as if illuminated by the light, coming from somewhere in front. Woman looks at a child gently and thoughtfully. The Madonna's face is shown in the profile, there is no smile on the lips, only its image attached to the corners.
The baby is scattered at the viewer, holding the mother's chest right hand. In the left hand, the child holds the scoop.
The bright image of the work is revealed in small details that tell us a lot about the mother and child. We see a child and mother in the dramatic moment of excommunication from the chest. On a woman, a red shirt with a narrow neck. It made special cuts through which conveniently, without removing the dress, feed the baby breasts. Both cuts were neatly sewn (that is, it was decided to overcome the child from the chest). But the right incision was hastily broken - the upper stitches and the thread scraps are clearly visible. Mother at the insistence of the child, changed his decision and postponed this difficult moment.
The picture arrived in 1865 from the Milan Assembly of the Duke Antonio Litt, with the name of which is connected its name.
Preparatory drawing to the Hermitage Cloth is kept in the Louvre.
Before entering the Hermitage in 1865, Madonna Litta was in the family collection of the duke of Antoine Litte in Milane, hence her name. The preservation of the picture was so bad that it immediately had to shifted from a tree to canvas. This unique technology that allowed the canvas to save, was invented by the Hermitage Stolyar Sidorov, for which he received a silver medal.
Around one of the most beautiful picturesque images of Our Lady with a baby, disputes do not subscribe. The authorship of Leonardo is questioned, and although there are sketches for the picture in his papers, some consider it the fruit of the work of the maestro students (at least as for clothing and interior; still there are few people who would reject that the face of the Mother of God belongs to the brush Leonardo ). More unknown and the date of its creation. Although the picture is customary to relate to the Milane period of life da Vinci, but there are also later dating, by the time when Leonardo lived in Rome - on this subject there are their hypothesis. One of them should be told.
Not so long ago, more precisely, in the nineties of the last century, the Russian scientist and church archaeologist O. G. Ulyanov studied frescoes in the catacombs of Holy Priscilla in Rome. This place is known from the ancient sources as "Mrs. Catacombs," because the 7 first Roman dads are buried there, including the Holy Martyr Pope Marcellin and his successor to Papa Marcell. According to the newest archaeological information, it dates back to the second century of our era.
Among the catacomb frescoes there is an image of the Virgin Mary with a baby, which is, apparently, the most ancient image of Our Lady in world painting. Russian scientist struck her coincidence with the composition of Madonna Litt. Like Leonardo, the feeding baby looks around and looks at the viewer.
Catacombs, randomly open at the end of the 15th century, became a favorite place for the walks of artists and thinkers who lived in Rome. Leonardo came to the Eternal City in 1513 and lived in it for three years. Of course, he is interested in all, all the more unusual, just could not but descend into the catacombs, where he saw an ancient fresco, which was so impressed that he repeated it in his picture. That is, the creation of "Madonna Litt" should be attributed to the time between 1513 and 1517. However, in this hypothesis, not a new dating is interesting, and the possibility of the spiritual impulse itself, who passed from a stupid painter II century to the Renaissance.