Developments in Raphael’s approach to the Madonna and Child theme.
...h somewhat prohibits the depth and therefore realism of the work. The Madonna’s of the Florentine period can be divided into three groups according to the composition and iconography of the paintings. The oldest and simplest are those with the commonly depicted Madonna, standing or sitting with the Christ child in her arms. The second catagory are those with landscapes or backgrounds, interior decorating (i.e: ‘The Small Cowper Madonna’). Raphael’s ‘Madonna and the Goldfinch’ steps into the third development of Florentine art- a new, more advanced approach to composition and style. He also included a significant amount of symbolism, in contrast to preavious paintings. The Madonna of the Goldfinch was painted in Florence in 1507. It was commissioned (for his own wedding celebration) by Lorenzo Nasi, a wealthy merchant; and a close friend of Raphael’s. To add to extravagance there was need for a larger sizing (107x77cm as apposed to 59.5x44cm of the Cowper Madonna) as the painting was to be placed in the bed chamber. In the centre of the painting sits a young, blond Madonna- a new depiction and transformation of Raphael’s Madonna’s, thought to be an influence by Leonardo and the lighter atmosphere of the city of Florence. It helps to show youth and purity, giving the Madonna a more innocent outlook. Leonardo's influence is present in the softness of the Virgin's face- Raphael learnt from him the skill of a controlled sfumato (helps to better portray purity and innocence), the sense of a brief movement frozen in time, and perfection of balance. He places the three figures- the Virgin Mary, Christ child (on the right) and St John the Baptist (on the left) in a pyramidal position, which he used frequently in the later Florentine years. The complexity builds as he creates tension between the trio using body language and gazes. Jesus looks intently at St John, while the Madonna looks down at both of the children, as if watching them at play. She holds her hands up protectively on either side of Christ and John and they both lean against her as if consoling her judgement. Here Raphael has made his way well into High Renaissance style painting- the more sophisticated work included symbolism, subtly woven into the iconography. St John offers a bird to Christ- the goldfinch, a bird that commonly nests in thorny bushes, is linked to Christ’s thorny crown, alluding to what is to come-his crucifixion- as they gave Christ this crown in mockery of him before he was forced to carry his own cross to be crucified. This also alludes to John the Baptist and his journey into the desert to fast and pray, as the desert was abundant with thorny bushes. Raphael was transferred back to Rome at the end of 1508, by order of Pope Julius II, who commissioned him to decorate three stanzas at the Vatican. It was during this ‘roman’ period, that Raphael painted the Madonna della Sedia. The ‘Madonna della Sedia’ (or ‘Madonna of the Chair’) at first glance, looks completely different to the High Renaissance paintings more commonly painted by Raphael- and though the painting does share the same theme of the Madonna and Child, Raphael has attempted a very different humanist approach. This particular portrait stands out from the latter Madonna paintings as there is a specific focus on the three figures- the tondo format is circular and subsequently quite a different presentation, but the figures create a sense of balance, integration and completeness as the Virgin bends her head down to fit in the circle. The tondo emphasises the centre of affection, the Christ child, and brings the figures, including St John, closer together to accentuate the humanistic theme. In Florence this circular representation dates back to the Middle Ages- Raphael encountered them in Michelangelo’s sculpture and in other Florentine work from artists such as Bottecelli, Lorenzo de Credi, and Filippino Lippi. The Virgin wraps her arms protectively around the Christ child and stares incisively at the viewer. For the first time in Raphael’s paintings, the Madonna is depicted as a lesser being, (although the motherly role has been expressed in previous Florentine works, here she is dressed as a house wife; which creates a further feeling of humanity as we are able to relate to her.) After leaving Florence, Raphael’s Madonna’s developed a new characteristic, appearing to be more powerful, and even dramatic, without losing the more fragile loveliness of the Florentine period. This is shown in the Madonna della Sedia, through the dramatically inte...