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What Does the Theme of the Painting Sistine Mandonna Suggest About Renaissance Art

Written By sábado, 30 de abril de 2022 Add Comment Edit
Sistine Madonna
RAFAEL - Madonna Sixtina (Gemäldegalerie Alter Meister, Dresde, 1513-14. Óleo sobre lienzo, 265 x 196 cm).jpg
Artist Raphael
Twelvemonth c. 1513–1514
Medium Oil on canvas
Dimensions 265 cm × 196 cm (104 in × 77 in)
Location Gemäldegalerie Alte Meister, Dresden

The Sistine Madonna , besides chosen the Madonna di San Sisto , is an oil painting past the Italian creative person Raphael. The painting was commissioned in 1512 by Pope Julius 2 for the church of San Sisto, Piacenza, and probably executed c. 1513–1514. The canvass was 1 of the last Madonnas painted by Raphael. Giorgio Vasari called it "a truly rare and extraordinary work".[i]

The painting was moved to Dresden from 1754 and is well known for its influence in the German and Russian fine art scene. After Globe War Ii, it was relocated to Moscow for a decade earlier being returned to Germany.

Composition [edit]

The oil on canvass painting measures 265 cm by 196 cm.[2] In the painting the Madonna, property Christ Child and flanked by Saint Sixtus and Saint Barbara, stands on clouds earlier dozens of obscured putti, while 2 distinctive winged putti rest on their elbows beneath her.[three] [4] [5] [half-dozen]

Painting materials [edit]

Pigment analysis of Raphael's masterpiece[7] [8] reveals the usual pigments of the renaissance menses such equally malachite mixed with orpiment in the green mantle on meridian of the painting, natural ultramarine mixed with lead white in the blue robe of Madonna and a mixture of lead-tin can-yellow, vermilion and lead white in the yellow sleeve of St Barbara.

History [edit]

The painting was commissioned past Pope Julius Two[9] [ten] in honor of his late uncle, Pope Sixtus Iv, as an altarpiece for the basilica church of the Benedictine Monastery of San Sisto in Piacenza, with which the Rovere family had a long-continuing relationship.[11] The commission required that the painting depict both Saints Sixtus and Barbara.[6] Legend has it that when Antonio da Correggio first laid eyes on the slice, he was inspired to cry, "And I likewise, I am a painter!"[12]

Relocation to Deutschland [edit]

In 1754, Augustus Three of Poland purchased the painting for 110,000 – 120,000 francs, whereupon it was relocated to Dresden and achieved new prominence;[12] [thirteen] [fourteen] this was to remain the highest cost paid for any painting for many decades. In 2001's The Invisible Masterpiece, Hans Belting and Helen Atkins describe the influence the painting has had in Deutschland:

Like no other work of art, Raphael's Sistine Madonna in Dresden has fired the Germans' imagination, uniting or dividing them in the contend almost art and organized religion.... Over and again, this painting has been hailed equally 'supreme amongst the earth'southward paintings' and accorded the epithet 'divine'....[xv]

If the stories are correct, the painting achieved its prominence immediately, every bit it is said that Augustus moved his throne in social club to improve brandish it.[12] The Sistine Madonna was notably historic by Johann Joachim Winckelmann in his popular and influential Geschichte der Kunst des Alterthums (1764), positioning the painting firmly in the public view and in the center of a debate about the relative prominence of its Classical and Christian elements.[16] Alternately portraying Raphael as a "devout Christian" and a "'divine' Heathen" (with his distinctly un-Protestant Mary who could have as easily been Juno), the Germans implicitly tied the paradigm into a legend of their ain, "Raphael's Dream."[17] Arising in the last decades of the 18th century, the fable—which fabricated its way into a number of stories and fifty-fifty a play—presents Raphael equally receiving a heavenly vision that enabled him to present his divine Madonna.[18] Information technology is claimed the painting has stirred many viewers, and that at the sight of the canvas some were transfixed to a state of religious ecstasy akin to Stendhal Syndrome (including 1 of Freud's patients). This nearly miraculous power of the painting made information technology an icon of 19th-century German Romanticism.[19] The picture influenced Goethe, Wagner and Nietzsche[20] Co-ordinate to Dostoyevsky, the painting was "the greatest revelation of the human being spirit".[21] Legend has information technology that during the abortive Dresden uprising of May 1849 Mikhail Bakunin "(unsuccessfully) counseled the revolutionary government to remove Raphael's Sistine Madonna from The Gemäldegalerie, and to hang it on the barricades at the entrance to the urban center, on the grounds that the Prussians were also cultured 'to cartel to burn down on a Raphael.'"[22] The story was invoked past the Situationist International equally "a demonstration of how the art of the by might be utilized in the present."[22] In 1855, the "Neues Königliches Museum" (New Royal Museum) opened in a building designed by Gottfried Semper, and the Sistine Madonna was given a room of its ain.[23]

Globe War II and Soviet possession [edit]

Sistine Madonna was rescued from destruction during the bombing of Dresden in World War II,[20] but the conditions in which it was saved and the subsequent history of the piece are themselves the subject of controversy. The painting was stored, with other works of art, in a tunnel in Saxon Switzerland; when the Red Army encountered them, information technology took them.[24] The painting was temporarily removed to Pillnitz, from which information technology was transported in a box on a tented flatcar to Moscow. At that place, sight of the Madonna brought Soviet leading art official Mikhail Khrapchenko to declare that the Pushkin Museum would now be able to claim a identify among the peachy museums of the earth.[25]

In 1946, the painting went temporarily on restricted exhibition in the Pushkin, along with some of the other treasures the Soviets had retrieved.[26] [27] Only in 1955, subsequently the death of Joseph Stalin, the Soviets decided to render the fine art to Federal republic of germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples."[24] [26] In that location followed some international controversy, with printing effectually the world stating that the Dresden art collection had been damaged in Soviet storage.[24] Soviets countered that they had in fact saved the pieces. The tunnel in which the art was stored in Saxon Switzerland was climate controlled, but co-ordinate to a Soviet armed services spokesperson, the power had failed when the drove was discovered and the pieces were exposed to the humid atmospheric condition of the secret.[24] [28] Soviet paintings Partisan Madonna of Minsk by Mikhail Savitsky and And the Saved World Remembers by Mai Dantsig are based on the Sistine Madonna.[29] [30]

Stories of the horrid atmospheric condition from which the Sistine Madonna had been saved began to circulate.[24] But, as reported past ARTnews in 1991, Russian art historian Andrei Chegodaev, who had been sent by the Soviets to Germany in 1945 to review the fine art, denied information technology:

It was the most insolent, bold-faced prevarication.... In some gloomy, dark cave, two [actually iv] soldiers, knee-deep in water, are conveying the Sistine Madonna upright, slung on cloths, very hands, barely using 2 fingers. But information technology couldn't have been lifted like this fifty-fifty by a dozen healthy fellows ... because it was framed.... Everything connected with this imaginary rescue is just a lie.[24]

ARTnews too indicated that the commander of the brigade that retrieved the Madonna also described the stories equally "a lie", in a letter to Literaturnaya Gazeta published in the 1950s, indicating that "in reality, the 'Sistine Madonna,' like some other pictures, ...was in a dry tunnel, where in that location were diverse instruments that monitored humidity, temperature, etc."[24] Merely, whether true or not, the stories had establish foothold in public imagination and have been recorded as fact in a number of books.

Contemporary display [edit]

After its return to Germany, the painting was restored to brandish in the Gemäldegalerie Alte Meister, where guidebooks unmarried it out in the collection, variously describing it as the "virtually famous",[31] the "top",[32] the "showpiece",[33] and "the collection'southward highlight".[34] From 26 May to 26 August 2012, the Dresden gallery celebrated the 500th anniversary of the painting.[35] [36]

Putti [edit]

A prominent element within the painting, the winged angels beneath Mary are famous in their own right. The angels of this nature are known as putti, and are normally conflated with cherubim.[37] Every bit early as 1913 Gustav Kobbé declared that "no cherub or group of cherubs is and then famous equally the two that lean on the altar height indicated at the very lesser of the picture show."[38] Heavily marketed, they accept been featured in stamps, postcards, T-shirts, socks,[39] and wrapping newspaper.[xl] These putti have inspired legends of their own. According to a 1912 commodity in Fra Magazine, when Raphael was painting the Madonna the children of his model would come in to watch. Struck by their posture as they did, the story goes, he added them to the painting exactly equally he saw them.[41] Another story, recounted in 1912 in St. Nicholas Mag, says that Raphael was inspired by two children he encountered on the street when he saw them "looking wistfully into the window of a baker's store."[42]

Notes [edit]

  1. ^ Raphael, Masters Collections., The Masterpieces: Sistine Madonna
  2. ^ Thomas Puttfarken (2000). The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400-1800. Yale University Press. p. 34. ISBN978-0-300-08156-v.
  3. ^ Sweetser, Moses Foster (1877). Raphael. J.R. Osgood and company. p. 120. Retrieved 27 June 2010.
  4. ^ Gilman, Daniel Coit; Harry Thurston Peck; Frank Moore Colby (1903). "Raphael Santi". The New International Encyclopædia. Vol. 13. Dodd, Mead and Visitor. p. 823. Retrieved 27 June 2010.
  5. ^ Huneker, James (1913). Pictures We Love to Live With ... The associated newspaper school. p. four. Retrieved 27 June 2010.
  6. ^ a b Gruyer, F.A. (1905). "The Sistine Madonna". In Esther Singleton (ed.). Nifty paintings equally seen and described past keen writers. Dodd, Mead and company. p. 45. ISBN978-ane-4099-4570-3 . Retrieved 27 June 2010.
  7. ^ Weber, K-H. Die Sixtinische Madonna, Maltechnik-Restauro, 90, iv 1984, nine-28
  8. ^ Raphael, Sistine Madonna, ColourLex
  9. ^ Angelo Walther, Raffael, Die Sixtinische Madonna. 2nd edition. Leipzig: Seemann, 2004.
  10. ^ Andreas Henning, Die Sixtinische Madonna von Raffael. Berlin: Deutscher Kunstverlag, 2010.
  11. ^ Shelley Esaak, "The Sistine Madonna by Raphael"
  12. ^ a b c Gruyer (1905), p. 57.
  13. ^ Sweetser (1877), pp. 121–122.
  14. ^ Belting, Hans; Edmund Jephcott (15 January 1997). Likeness and Presence: A History of the Image Earlier the Era of Art. University of Chicago Printing. pp. 478–479. ISBN978-0-226-04215-2 . Retrieved 27 June 2010.
  15. ^ Belting, Hans; Helen Atkins (1 September 2001). The Invisible Masterpiece. University of Chicago Press. p. 50. ISBN978-0-226-04265-7 . Retrieved 27 June 2010.
  16. ^ Belting and Atkins (2001), 53.
  17. ^ Belting and Atkins (2001), 54–55.
  18. ^ Belting and Atkins (2001), 56–57.
  19. ^ Belting and Atkins (2001), 58–59.
  20. ^ a b Carrier, David (2006). Museum Skepticism: A History of the Display of Art in Public Galleries. Knuckles University Press. p. 106. ISBN978-0-8223-3694-5 . Retrieved 27 June 2010.
  21. ^ Kjetsaa, Geir (15 January 1989). A Writer'southward Life. Fawcett Columbine. p. 261.
  22. ^ a b McDonough, Tom (2007). The Cute Language of My Century: Reinventing the Language of Contestation in Postwar France, 1945- 1968. The MIT Printing. p. 107. ISBN978-0262134774.
  23. ^ Belting and Atkins (2001), p. 61.
  24. ^ a b c d e f g Akinsha, Konstantin; Grigorii Kozlov (April 1991). "Spoils of War". ARTnews. Archived from the original on 15 November 2008. Retrieved 27 June 2010.
  25. ^ Naimark, Norman Grand. (1995). The Russians in Germany: A History of the Soviet Zone of Occupation, 1945–1949. Harvard Academy Press. p. 176. ISBN978-0-674-78405-5 . Retrieved 27 June 2010.
  26. ^ a b Smith, Kathleen Due east. (2002). Mythmaking in the new Russia: politics and retentivity during the Yeltsin era . Cornell University Press. p. 60. ISBN978-0-8014-3963-half-dozen . Retrieved 27 June 2010.
  27. ^ Vasily Grossman writes nearly viewing the painting in the Pushkin. "The Sistine Madonna," in The Road, pp. 163-174.
  28. ^ Gesellschaft für Kulturelle Verbindungen mit dem Ausland (1982). GDR review. Verlag Zeit im Bild. Retrieved 27 June 2010. During the Second World War the valuable painting was seriously endangered. In 1943 the German fascists stored it and many other world-famous paintings in "T". This alphabetic character stood for a tunnel in a sandstone works near Pirna in Saxon Switzerland. As a result of the underground humidity the "Madonna" was exposed to destruction.
  29. ^ "М.Савицкий "Партизанская Мадонна Минская"" (in Russian). Byelorussian National Arts Museum. Retrieved 10 December 2015.
  30. ^ ""И помнит мир спасенный" Мая Данцига вошел в коллекцию картин Арт-фонда семьи Филатовых". The Tretyakov Gallery Mag (in Russian). fifteen May 2013. Retrieved 10 Dec 2015.
  31. ^ Bekker, Henk (15 Oct 2005). Risk Guide to Germany. Hunter Publishing, Inc. p. 81. ISBN978-1-58843-503-iii . Retrieved 27 June 2010.
  32. ^ Let's Become Inc (viii December 2006). Permit's Go Germany. Macmillan. p. 607. ISBN978-0-312-36070-ii . Retrieved 27 June 2010.
  33. ^ Olson, Donald (14 July 2009). Deutschland For Dummies. For Dummies. p. 219. ISBN978-0-470-47402-0 . Retrieved 27 June 2010.
  34. ^ Steves, Rick (8 December 2009). Rick Steves' Deutschland 2010 with Map . Avalon Travel. p. 468. ISBN978-i-59880-294-8 . Retrieved 27 June 2010.
  35. ^ The Sistine Madonna: Raphael's iconic painting turns 500 Archived 16 January 2013 at the Wayback Car
  36. ^ Dresden has the Original: The Sistine Madonna and her Angels Archived 11 April 2013 at the Wayback Auto
  37. ^ Wood, Alice (2008). Of Wings and Wheels: A Synthetic Study of the Biblical Cherubim . p. 1. ISBN978-three-11-020528-two.
  38. ^ Kobbé, Gustav (1913). Cherubs in art ... The associated paper school. p. 3. Retrieved 27 June 2010.
  39. ^ url=https://www.socksmith.com/products/womens-bamboo-sistine-madonna-socks?variant=51785928523
  40. ^ Thorson, Larry (4 Dec 1995). "Raphael's angels are widely used item of sublime painting". Luddington Daily News. Associated Press. Retrieved 27 June 2010.
  41. ^ Hubbard, Elbert (14 July 2003). Fra Magazine: Exponent of American Philosophy, January 1912 to June 1912. Kessinger Publishing. p. 227. ISBN978-0-7661-6403-1 . Retrieved 27 June 2010.
  42. ^ Mary Mapes Dodge (1912). St. Nicholas: a monthly magazine for boys and girls. p. 335. Retrieved 27 June 2010.

References [edit]

  • Carus, Carl Gustav (1867). Ueber die sixtinische Madonna des Raphael. Dresden. Complete digitalized version available at Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB)
  • Grossman, Vasily, "The Sistine Madonna," in The Route, Chandler, Robert, ed., New York Review Books, 2010.
  • Gruyer, F.A., Les Vierges de Raphaël, Paris 1869, in Singleton, Esther, Great Pictures, as Seen and Described by Famous Writers, New York: Dodd, Mead and Co., 1899, English translation
  • Koja, Stephen, ed., Raphael and the Madonna, Munich, Deutschland: Hirmer Publishers, 2021.
  • Mombert, Jacob Isador, Raphael's Sistine Madonna, New York: Eastward.P. Dutton, 1895.

External links [edit]

  • Webpage of Staatliche Kunstsammlung Dresden
  • Raphael, Sistine Madonna, ColourLex.com

cooperconswited.blogspot.com

Source: https://en.wikipedia.org/wiki/Sistine_Madonna

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