Analysis of Raphael’s Madonna and Child with book
The Madonna and Child with Book, c. 1502-03, by Raffaello Sanzio also called Raphael Italian, 1483-1520, is an oil on panel, with dimensions 21-3/4 x 15-3/4 in. (55.2 x 40 cm), and is displayed at Norton Simon Art Foundation. The Madonna has been a preferred subject for hundreds of artists through the centuries, and while Raphael has painted more than one, the Madonna and Child with Book resonates with certain innocence--something commonly found in the early paintings by Raphael. Raffaello Sanzio, or Raphael is a creative genius, recognized for his paintings. His father, Giovanni Santi, trained Raphael in his painting techniques. Raphael produced pieces of art that exhibited tranquility, grace and clearness. In Florence, he adopted Leonardo's thoughts and produced a chain of Madonna. Raphael favored clarity in the Madonna Paintings, making use of simple lines and naturalistic, triangular arrangements. The Madonna, sweet in the way she guides the child is a beautiful representation of Raphael’s tranquil grace through art. This piece of art represents Christ and Christianity in the sense of how Jesus was raised, taught and mothered by Mary. The collection of Madonna painted by Raphael is meant to represent devotional works considered by believers to be a representation of Jesus’ childhood.
The binding medium for Raphael's 'Madonna and Child' was exposed utilizing an innovative method called gas-chromatography associated with mass spectrometry (GC-MS). This demonstrated that the image was colored in a broad variety of colors, bound together making use of pine oil. Raphael utilized a rich selection of gilding methods for this piece.
The backdrop isn't especially practical and there's fairly less depth than within the first Madonna. Both figures appear genuine in a plastic sense, forecasted forwards in the history using a three - dimensional impact, which provides the principal figures added visibility. This seems to be yet another characteristic in keeping with da Vinci. Snow-capped hills on the skyline towards the best of the Virgin include a distinctive, albeit puzzling, facet towards the painting. The river and the shrub on the left, even though perhaps not necessary to the truth of the complete work, finishes Raphael's trademark of oneness through stability and proportion.
The painting is polychromatic. Colors are unified and an abundant comparison is attained between the doldrums and yellows, yet; the bend on the red shirt doesn't seem practical. The first is a lot more comprehensive. Though Raphael's clothing generally isn't especially glossy or twinkling, the variations between your two imply this area of the painting was possibly colored by students or was completed hurriedly.
Like much of Raphael's work, the outlines are razor-sharp and obviously individual to the figures in the history and context of this painting. The virgin is dedicated to a vertical axis different the horizontal outlines of the river and the skyline. Powerful angled outlines of the Virgin's tipped head and also the physique of the child are at right sides and curve downward for a soft tranquil feel.
Within this painting, the balanced, calm figures are painted in a very natural composition. The composition is organized by a lucid geometry, from the pyramidal group of the Madonna and Child with Book towards the mathematical idealization of their physiques and faces. The strong, blue arch of the Madonna's shape encloses the child and structures the novel. While some will argue that the Madonna’s arm is in an unnatural position, her arm is more accentuated by the ‘pressing’ of her fingers rather than the fact that she is holding the book; she uses her hands to entice the child to look toward the novel. However, his eyes are fixed on the Madonna. There is a sense of longing in the child’s eyes.
The virgin's face exhibits a sensitive, nurturing gaze looking down with business, yet abstracted sweetness. The reflection of the "Christ" in the child is carefully concentrated around the novel and his face represents a feeling of pleased attention. The strength of his attention about the guide nearly makes it appear as though he's studying diligently. The novel itself was rumored to have been painted in at a later date. When the first Madonna was moved from timber to fabric, it was found that the Virgin's hand initially comprised a pomegranate. While a novel makes for a more fascinating painting, the focus of the painting then changed from nurture through food to that of knowledge. This changed the image of the painting, thus the meaning and can ultimately be explained in the the iconography of Raphael.
Iconography
According to The National Gallery, “Iconography is a branch of art history which studies the identification and interpretation of the content of images. Translated from the Greek it means, literally, ‘image writing’. Raphael's early painting methods were nice and exquisite, matching his character that was often thought to be tranquil and graceful; techniques most valued by his customers, peers and students. Throughout the Renaissance nevertheless, notably in 15th-century painting, iconography became extremely complex - oftentimes it appears intentionally unclear and is usually difficult to comprehend. Had Raphael left the pomegranate in the painting of the Madonna and Child in lieu of the book, we might not have thought it to be a direct representation of Christ, but just a woman trying to feed her child.
In terms of Raphael’s iconography, secular painting became more typical, building Raphael’s customs and conferences of iconography during his paintings of the Madonna. These paintings draw upon a huge quantity of resources, from ancient history and mythology, to historic occasions from the near past. This wide range of resources frequently implies that the story content appears vague to a contemporary audience. However, the complex nature of Raphael’s image writing through his iconography, while simple, tells a story through the ages within several paintings, rather than just one story with one painting.
Comparison
In comparison to Raphael’s Vision of a Knight, the Madonna with Child and Book may have actually started as allegorical painting.
According to the National Gallery, “Vision of a Knight is an allegorical painting (a figurative representation of an abstract idea). The most likely source is an allegory about choices taken from a passage in the Punica, an epic poem recounting the Second Punic War by the Latin poet Silius Italicus (AD 25–101). Resting in the shade of a bay tree, the young soldier Scipio has a vision of two ladies, Virtue and her adversary Pleasure.”
The Madonna and Child with Book are meditating on the crucifixion and death of Christ. The child is comforting his mother in terms of the unforeseen future of the child. The rise and fall of the lines within the painting can be seen as the rise and fall of Christ, which is the figurative representation of the abstract idea, however if you take into context that the original painting was that of a pomegranate, the painting was originally more abstract—as the rise and fall of Christ came into action because of the fruit from the tree of knowledge. Therefore, much like Raphael’s Vision of a Knight, the Madonna and Child with Book was more allegorical in its original form.
Conclusion
Within the series of Madonna as a whole there are several pictures and symbols of the Catholicism. When on looks at the Madonna and Child with Book, there, you are able to discover a fairly fascinating world where a piece of a story is told. Many over the years, automatically believe the book in the painting is the bible. This may have actually been canonical hours or daily prayers, which is what would have been recited by Mother and child in the 15th century.
The wording inside the novel presents the ninth hour, or Nones of the canon, recited everyday by all monastic communities. The Nones commemorates Christ's Crucifixion and Dying. With eyes looked to paradise, the Jesus Child contemplates his own compromise as man's redeemer. Raphael has portrayed more than merely a lovely picture of the Madonna and Child with a Book he has recorded a meditation piece. This is why his Madonna’ were such popular a series, and gained the deeply religious sentiment that we still relate to the tranquility of Raphael to date.
Works Cited
The National Gallery. Studying Raphael: iconography. Web. 5 May 2013.
The National Gallery. Studying Raphael: pigments and medium. Web. 5 May 2013.
Norton Simon Museum. Madonna and Child with Book. Web. 5 May 2013.
Oil Painting Express. The Renaissance Dandy: Raphael. 12 October 2009. Web. 5 May 2013.
