Raphael's Madonnas on Stamps |
1) Madonna del Grantuca 23
2) Sixtire Madonna 23
3) Madonna with Gordeu ("La Belle Jardinière") 16
4) Madonna Ansidei 15
5) Madonna della Sedia (chair) 14
6) Madonna Aldobrandini (or Garuagh or with Carnation) 13
7) Madonna with Goldfinch 11
8) Holy family with Lamb 11
9) Madonna of Foliquo 10
The first period: 1499-1504
Raphael Santi was born in Urbino/Umbria on April 6, 1483. The boy is taught by his father Giovanni Santi, an honest painter. Raphael is 11 when his father dies. At age 16 he leaves for Perugia. He is admitted into the school of Il Perugino, his true teacher and master. In 1502/1503 he spent 15 months with Pinturicchio in Siena. At 19 Raphael is still a timid, somewhat mystically inclined young painter of provincial origin and habits. His first madonnas are young, with pouting mouth, round face and veiled head. The posture is traditional and rigid, the form at times fuzzy. Already his exceptional qualities of simplicity, grace and harmony in color and composition can be noted. His admiration goes out to Fra Angelico whose madonnas seem to escape gravity. He emulates his master Il Perugino but already his own genius transpires.
1. La Madonna Solly (with the Thistlefinch)
ar. 1500
Oil on board (56 x 36 cm)
Perugia
Very young madonna, almost childlike, reading from a book. The face has not yet the oval shape
of Florentine madonnas. The painting exudes a certain austerity and simplicity. Il Perugino's
influence is easily detectable.
Museum of Berlin (acquired with the Solly collection), #141
Guiné-Bissau, em. 1983.
2. Madonna Connestabile
1502/1503
Oil on panel (18 cm diameter)
Perugia
Considered to be one of the greatest gems of miniature paintings, this madonna was painted for
Alfonso di Diamenti, a friend of Raphael's. The Virgin stands in open air reading, while the child
touches and looks into the same book. Mary is dressed in traditional marian colors: red tunic and
blue mantle with hood over her head. The child's playfulness reflects ease and security in his
mother's arms. The pretty landscape in the background suggests the passage from winter to
spring.
The painting was sold by Count Scipione Connestabile to the Empress of Russia in 1871.
Hermitage, St. Petersburg
URSS, em. 1970
3. Madonna of Diotalevi
ar. 1503/04
Oil on panel (69 x 50 cm)
Perugia
Assigned to Perugino this painting is probably by Raphael. The board has been injured and the
blues have degenerated. More refined (long neck and oval face) than the Solly Madonna it is part
of the Perugino Period. The Virgin supports the infant sitting on her lap, her right hand rests on
the shoulder of John the Baptist. Christ's right hand is raised in benediction, John receives the
blessing in pious posture. Mary's face shows arched eyelids and the pursed mouth peculiar to
Raphael. Its expression is one of motherly affection for both infants, a resigned presentiment of
things to come, and a shade of the typical Umbrian "smorfia."
Museum of Berlin (purchased in 1842 from Marquis Diotalevi).
Republic of Central Africa, em. 1984.
4. Madonna of the Pomegranate
ar. 1504
Drawing with black pencil (418 x 298 cm)
early Florentine work
Possibly a cartoon for the Connestabile Madonna, this drawing is of high precision, technique and
balance. The half-length Madonna and child concentrate in posture and look on the pomegranate
held by both child and mother. Echoes of Della Robbia can be seen in this drawing, especially in
the sweet thoughtfulness of the madonna.
Collection Albertina, Vienna
Austria, em. 1969
This page, maintained by The Marian Library/International Marian Research Institute, was
last Modified January 13, 1998 by J.C. Tierney. Please send any comments to ROTEN@data.lib.udayton.edu.
You are visitor
#1,252
5. Coronation of the Virgin
ar. 1501
oil on canvas (267 x 163 cm)
Vatican Pinacoteca
Lesotho, em. 1987
6. Crucifixion
ar. 1502
oil on panel (165 x 280 cm)
Citt… di Castello
Christ on the cross--surrounded by two hovering angels collecting the precious blood oozing from
the wounds of his hands--dominates a group of four: on his right the Virgin and Jerome; on his
left St. John the Evangelist and Mary Magdalene. This scene composed in strict symmetry and still
marked by Perugino is set against a vast and sunlit landscape. This altarpiece--often called Mond
Crucifixion from the name of its owner--was commissioned for the Gavari Chapel in San
Domenico. The unity of tone characteristic of Perugino is brightened by the lively Florentine color
scheme. Of the four figures at the foot of the cross two are kneeling: S. Jerome and Mary
Magdalene. Their posture is that of penitents (S. Jerome since the 15th century) whereas Mary
and John are pictured standing, posing as participants in Christ's passion and disciples of the
Redemption.
London, National Gallery
Republic of Togo, em. 1983 (on the occasion of the 5th centenary of Raphael's birth)
7. Marriage of the Virgin
1504
oil on board (117 x 170 cm)
Citt… di Castello
Still in Perugino's studio this far-famed painting marks the end of Raphael's early period and
works executed in Citt… di Castello. Taking stock of his early Florentine experiences and the
apprenticeship at Perugino's hand he now finds his own sense and expression of painterly poetry.
The "Sposalizio" (Marriage) had been ordered for the Church of San Francesco. It is dated (1504)
and figured (Raphael Urbinas). There are two elements that constitute this painting: the temple
(upper half) and the scene depicting the marriage ceremony (lower part and foreground).
Perspective and depth lend unity to these elements; symmetry marks the whole atmosphere with
nobility. Both Mary and Joseph are attended by five young women or men. The young men
carrying rods. Alone the rod of Joseph budded, sign of his election as bridegroom. One of the
rejected suitors breaks his rod. Although of sober and strict composition, the painting exudes
grace contained and expressed in the posture and movement of the people present, in particular
that of Mary and Joseph. Garbed in the classical colors of red and blue the Virgin enters marriage
serenely and gracefully.
Breva Gallery, Milan
Antigua and Barbuda, em. 1989
URL for this page is http://www.udayton.edu/mary/raphael.html
Books /
Research and Publications /
Resources /
News /
Marian Movements
Meditations /
Prayer /
Documents /
Frequently Asked Questions (FAQ) /
Home