16th century, after Raphael Sanzio (Urbino, 1483 – Rome, 1520)
MADONNA OF THE PINKS
Oil on canvas 38 x 30 - with frame cm 59 x 52.5
The Madonna of the Pinks, created by Raphael Sanzio (Urbino, 1483 – Rome, 1520), became a highly successful iconographic model, and there are many replicas, such as the one examined here.
The original by Raphael, now on display at the National Gallery in London, was created between 1503 and 1507, when the painter was about 23 years old. The London example is identified as the original; there are about fifty copies, testifying to its great success among patrons (Madonna of Syracuse, Madonna Chatron; there is also a copy made by Federico Barocci – Borghese Gallery). Raphael's influence from Leonardo da Vinci is also evident, particularly from the Madonna Benois (Hermitage Museum, Saint Petersburg). The sacred image also owes its diffusion to the numerous engravings that circulated from workshop to workshop.
Raphael's painting is a religious work intended for private devotion. Raphael manages to transform the classic subject of the Madonna and Child into a representation with a familiar tone. The young mother and son are no longer depicted in rigid and formal poses, as in paintings by previous artists, but have abandoned all formality, indulging in a tenderly intimate attitude and revealing all the emotions of their relationship. The Madonna exchanges a few small red carnations with Jesus, which, because of their color, represent the blood that Jesus will shed in the future on the cross (according to tradition, the carnation is considered a symbol of divine love and is believed to have blossomed from the earth where the Virgin's tears fell during the Passion of Christ). Furthermore, they also refer to the marriage between Christ and the universal Church represented by Mary. Finally, the canopy bed symbolizes the Virgin's virginity.
This replica, dating back to the 16th century, was created by an artist familiar with the original Raphael, an image that spread mainly through engravings. The entire composition is reversed compared to the autograph copy, but here too the Virgin and Jesus Child are in a room immersed in shadow. Mary wears a pink dress (gray in the original) decorated with puff motifs on the sleeves. Furthermore, she wears a blue cloak on her legs on which the white cushion rests. The Child, on the other hand, is naked (although a soft cloth covers his nudity) and sits on his mother's legs and observes the flowers he holds in his hands. Inside there is a four-poster bed and from the window you can see a country landscape with some ruins.
The object is in a good state of preservation.
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