The Madonna of the Goldfinch by Raphael Sanzio, 1505-1506

 
The Madonna of the Goldfinch by Raphael Sanzio
 
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Raphael Sanzio

Raphael began his series of Madonnas in the open air with the plastically constructed group of the Madonna del Cardellino, or "The Madonna of the Goldfinch", sometimes also called "The Madonna in the Meadow". Those who believe they can get some understanding of art from "influences" may remark that, in this picture, Michaelangelo's Bruges Madonna was actually the model for the quietness of the contour and for the Child, who with one little foot still keeps close to his mother; but because this very character of inward plastic compression made the group too narrow to fill up the picture space, a beautiful Gothic motive was introduced, as in Schongauer: the delicate trees provide, in the distance, an accompanying tracery to the outline.

In the final result of "The Madonna of the Goldfinch", nothing remains of the prototypes but their life-creating spirit — from Michaelangelo the significant, self-contained character, from Leonardo the gaze of the three figures one on another and, with it, their mutual attachment in a common love.

All is endowed by Raphael, as with something that is his very own, with the poetic feeling for space, around the group and within it; and exactly in the centre of the whole he gives play once again in no ordinary manner to his sensibility for space — in this little hand of the Holy Child shyly asking if it may stroke the cowering little bird and yet, arched protectingly above the helpless creature — a sensuous expression of all that is supersensuous.

The whole composition of "The Madonna of the Goldfinch" is keyed, in all its parts, great and small alike, to this domed line — the contour of the Madonna's head, the line of her shoulders, her sitting posture. It was the age of imposing vaulting schemes. In the distant plain, amid the buildings of a town, a church stands out, like that of the Consolazione at Todi, and the decisive line is repeated again to the left by the arch of the bridge.

"The Madonna of the Goldfinch" has unfortunately been made to undergo the concealment of its expressive colour under coatings of varnish. It is presently undergoing restoration at the Uffizi Museum in Florence.





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