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Rafael Santi is the creator of masterpieces, many of which have become invaluable assets of world culture and altar painting. The artist created in his unique style, combining the earthly and the divine into immortal inspirational images. On the grave of the great painter, admired contemporaries scribbled the words that during the artist's life, nature was afraid to be defeated, and after his death she was afraid to die.
From an early age until his apotheosis in the creation of the Sistine Madonna in 1513, Rafael in different variations depicts the Madonna, many works of the unsurpassed master to this day illuminate the temples of Italy and the Vatican. The story of the image of the Madonna with a veil was more dramatic and mysterious.
The painting is commissioned by Pope Julius II for the Church of Santa Maria on Popolo Street, where it was next to the portrait of the pontiff, also made by Raphael. It was Julius II, impressed by the Madonna and Veil, who ordered the artist a future altar masterpiece for the monastery of St. Sixtus. For a long time, the Madonna and Veil was called Madonna del Popolo, until at the end of the 16th century it was sold to the Borghese private collection. Then her tracks were lost several times, for some time the nuns of the monastery in Loreto considered Madonna del Popolo their own, which is why for some time she was called Madonna Loreto, but in the middle of the XVIII century the image disappears completely.
The painting, executed on a specially crafted board, depicts the Holy Family. Maria peacefully plays with a translucent veil with an awakened Baby, Joseph is watching them, the figure of which, according to scientists, was added later instead of the window originally shown behind Maria. The face of Madonna leaning towards her son is full of endless tenderness and quiet sadness, she is calm and enjoys a short period of carefree communication, knowing what fate awaits her miraculous Infant.
The light in the picture comes only from the snow-white sheet and the shining body of Jesus, the red dress of Mary gives the composition a light joy and an elevated mood, but the rest of the image is shrouded in dense darkness. Not a shadow of a smile on the face of the Holy Virgin, Joseph does not hide his grief and tightly clasps his hands behind the Virgin. The joy of life and the pain of all human suffering are interwoven in the picture into a complex and indescribable gamut of feelings and emotions.
In the 20s of the last century, the picture is again considered newfound. The well-known art historian and restorer I.E. Grabar brings from Nizhny Tagil a time-mutilated image that has all the signs of Raphael's lost masterpiece. After three years of restoration, he nevertheless attributed the painting as an original, until the end of the 70s the painting was exhibited at the State Museum named after A.S. Pushkin, however, then the museum staff refused attribution and returned the painting to the Nizhny Tagil Museum.
Painting by Andrei Rublev Trinity