“The Sistine Madonna” is the mystery of the painting by the great Italian artist Raphael Santi. Sistine Madonna by Raphael Santi Raphael Sistine Madonna 1512 description of the painting

Raphael's Sistine Madonna captivated the whole world. The talent of the best painter of the era High Renaissance Rafael Santi allowed him to create a picture that attracts, evokes a range of feelings and amazes with its liveliness. The canvas is more than five hundred years old, but the technique of execution is so high that it is perceived as a 3D image. And, when you stand in front of the painting, it seems that Madonna is about to step towards you.

The picture arouses genuine interest. Since the “Sistine Madonna” entered the collection of the Saxon electors in 1754 and was placed in, the painting has been seen by millions of people.

Description of the painting and the magic of perception

The canvas, not very large in size, 256 cm x 196 cm, somehow magically holds the viewer’s attention. Experts say that this is a special dynamic circle that controls the gaze of a person looking at the picture.

The viewer peers at the image of the Mother of God with the baby in her arms, then his gaze moves to the golden robes of St. Sixtus, and, most importantly, his hand. Saint Sixtus extends his hand towards the viewer, as if including him in the composition. And the viewer involuntarily follows the gaze of the saint, again directing attention to the Madonna and the baby.

Next, the gaze slides to the image of St. Barbara, as the “chemistry” of perception of a similar color range robes. Saint Barbara looks down, inviting you to follow her gaze to the sweet angels. But when the viewer’s eyes stop at the pair of cherubs at the bottom of the picture, who directed all their attention upward, they invariably continue to move to the upper center of the canvas - to the image of Mary and the Child.

This breaks down the magic of Raphael’s painting into its components modern science. It is possible that the gaze of most viewers glides across the picture in exactly this way. There are always more visitors in the hall where the painting is shown than in other halls. An inexperienced visitor simply looks at the picture and absorbs the message that comes from the composition. Connoisseurs are especially biased. They are interested in both the general perception of the composition and the details.

From my experience I will say that Raphael’s “Madonna” has a multifaceted effect. Painting canvas holds when viewed directly. I want to take a closer look, but questions also arise... From whom did the author write? beautiful image.. How did it happen that best job Raphael, the main artist of the Vatican, was kept in the church of the small town of Piacenza?.. And why did Augustus III acquire this particular painting for his collection, while Raphael Santi dedicated many of his works to the Madonna and Child?..

The history of the creation of the painting Sistine Madonna

Some researchers suggest that Raphael created this masterpiece for St. Peter's Cathedral in Rome. The order came from Pope Julius II. A place was also provided for the painting - in the chapel where Pope Sixtus IV was buried. But during the reconstruction of the temple, Sixtus IV was reburied, and church canons did not allow the magnificent painting to be moved to the altar.

IN main church The Vatican strictly observed these canons, but on the periphery, to which the city of Piacenza belonged, such rules were not so adherent. Therefore, Raphael’s painting was moved to the Church of St. Sixtus at the monastery in Piacenza.

The work of the famous Italian painter haunted the Saxon Elector Augustus III, who wished to supplement his collection with the image of the Madonna by Raphael. Augustus III looked at the painting “Madonna of Foligno”, which the author painted a year earlier - in 1511-12.

This painting was in the Vatican, and the Pope opposed the trade. During lengthy negotiations, interest shifted to the painting “The Sistine Madonna,” and the head of the Roman Catholic Church relented. Moreover, restoration began in the Piacenza temple.

So the masterpiece ended up in Germany, and with mid-19th century permanent place The painting's location is the Old Masters Gallery in .

For modern visitors it is important to know where exactly Raphael's Sistine Madonna is located. This is the second floor (in our understanding, not the European one), where paintings belonging to the High Renaissance are exhibited.

And yet, who was given the honor of posing for Raphael when creating the image of Madonna? More and more sources confirm that this is the painter’s secret lover Margarita Luti. The same features as in the image of the Madonna can be seen in the portrait of Fornarina and in the painting of Saint Cecilia.

It's amazing that genius artist, bound by strong ties to the Vatican, had no right even to open feelings. His official bride was the Cardinal's niece Maria da Bobbiena. It seems that Rafael Santi did not intend to marry her or paint pictures of her face...

Returning to the painting “Sistine Madonna”, it should be clarified that exactly in the Dresden art gallery the original is located. There are also copies of the painting. In the same city of Piacenza there is a copy created back in 1730 by Pier Antonio Avanzini. And how many more lesser-known copies there are!

Gallery Old Masters on the map of Dresden

“The Sistine Madonna” is the most famous of Raphael Santi’s paintings, which has no creative analogues. Read about the history of the creation of the “Sistine Madonna”, the first mentions of the “Sistine Madonna”, and the original name of the masterpiece of classical art.

"This the whole world, fabulous, colorful world art. This picture alone would be more than enough to make the author’s name, if he had not created anything else, immortal.”

Goethe on the Sistine Madonna

Higher creative takeoff Raphael's painting lasted until the mid-1510s, and during this period the creation of the Sistine Madonna, the most famous of the artist's paintings, occurred.

"Sistine Madonna", Raphael Santi

At one time, this painting was considered the most famous in the world, not only because of its beauty, but also because the Polish-Saxon king Frederick AugustusIIIThe Saxon bought it in 1574 from the Church of St. Sixtus in Piacenza for a lot of money. From the name of the church, the painting received its new, now known to everyone, name - “Sistine Madonna”, and initially it was called “Madonna and Child, with St. Sixtus and St. Barbara”. Relics associated with these saints were kept in the Church of St. Sixtus. Relics are extremely important to the church because they produce the desired effect. Papa JuliusII, while still a cardinal, he collected donations for the construction of a chapel in the church for the relics of St. Sixtus and St. Barbara.

Church of St. Sixtus, Piacenza

There is no documentary evidence of the creation of the “Sistine Madonna” and why it ended up in the monastery of St. Sixtus in Piacenza. The painting was first mentioned in “Biographies of the Most famous painters, sculptors and architects" Vasari only in 1550. According to Vasari: “He (Raphael) made for the black monks (monastery) St. Sixtus a board (image) of the main altar with the appearance of the Mother of God to St. Sixtus and St. Barbara; a unique and original creation.” Vasari's statement that the altar image was executed on a board indicates that he himself did not see the Sistine Madonna, because the picture was painted on canvas. Vasari's mistake has a simple explanation: at the beginningXVIcenturies, altar images were usually executed on boards. The huge Sistine Madonna (256x196 cm) is painted on canvas. It is quite possible that the choice of material depended on the large dimensions of the painting. But this can also be interpreted as a hint that the painting was intended as an element of a banner.

The banner is a religious banner in the Orthodox and Eastern Catholic churches. It is a cloth on a shaft with the image of Jesus Christ, the Virgin Mary or saints. Church banners were intended for religious processions.

The dating of the creation of the painting is extended in time - from 1512 to 1519, and is still controversial. Most researchers consider the most likely date of its execution to be 1512 - 1514.

All italian culture originates from monasteries. A monastery is a religious community of monks or nuns that has a single charter and single complex liturgical, residential and commercial buildings. The birthplace of monasticism is Egypt, famous for its desert fathersIV- Vcenturies. The Monk Pachomius the Great founded the first communal monastery and wrote the first monastic charter in 318. Monasteries were not only about religion, they were centers of knowledge since the Dark Middle Ages. Each monastery had a library and a place where scriptorium books were copied, and their joint activities launched a chain of events favorable for the development of culture. Some monasteries, such as the first Benedictine monastery at Monte Cassino (founded in 529), were truly medieval scientific centers. The monks were engaged in research in various areas philosophy, medicine and music. The first schools were opened at monasteries. Novices of monasteries often became popes: Pope Leo X, the patron of Raphael, was a novice of the monastery of Monte Cassino, 100 km from Rome. Monasteries provided shelter for the frail old people and the sick and were a place where one could hide from the worldly environment, from the chaos and violence reigning in the world. Under the influence of Savonarolla's teachings, Leonardo da Vinci in 1491 went to a Dominican monastery near Pisa for some time. Adherents of the ideas of the “demagogue on religious grounds” Savonarola were the elder brother Michelangelo, who became a monk in Viterbo, and the artist della Porta, who after taking monastic orders received the name Fra Bartolomeo.

The Monastery of St. Sixtus, one of the most ancient monasteries, was founded by Queen Engilberga in 874. And like any monastery, it lived autonomously, strictly guarding its secrets. We must not forget that these were difficult times: Italy lived in a state of incessant wars that destroyed people and the very spirit of civilization. The terrible reality of these wars was not just catastrophic, sometimes simply irreparable losses: during Napoleon’s Italian campaign, the archives of the monastery of St. Sixtus burned down. Unfortunately, no preparatory drawings or sketches of the Sistine Madonna. And since there is no source of historical information, the name of the customer beautiful picture still not known.

The German researcher M. Putcher and his followers are convinced that Raphael painted the “Sistine Madonna” for the Church of St. Sixtus, and in this church the painting remained until it was taken to Dresden. According to his version, Pope Julius donated the “Sistine Madonna” to the Church of St. Sixtus in gratitude for the contribution that Piacenza made (the monks of the monastery actively campaigned for annexation to Rome) during the war with France. At firstXVIcentury northern lands Italy became the subject and place of conflict between the selfish interests of Rome and France. The papal troops coped so well with the bloody task of conquering the northern regions that the northern Italian cities, one after another, went over to the side of the Roman pontiff. On June 24, 1512, Piacenza also voluntarily joined Rome, entering the state of the pope and receiving the status of the Papal States.

YuliyaII, whose political ambitions went hand in hand with religious zeal, had a special relationship with Piacenza. This small town 60 km from Milan reminded Pope Julius of his relationship with Pope SixtusIV, his uncle. In addition, in the city there was the Cathedral of St. Sixtus, the patron saint of the della Rovere family, to which Pope Julius belonged. While staying in Piacenza in June 1500, while still a cardinal, Pope JuliusIIgranted the monks of the monastery absolution for the charitable work of building a church. Church of St. Sixtus, badly damaged during the war and restored famous architect Alessio Tramallo in 1499-1511 was reopened after reconstruction with a new altar image - Raphael's masterpiece "Sistine Madonna".

Interior of the Church of St. Sixtus

Religious themes are quite popular among Raphael's contemporaries. However, the main difference between this picture and similar ones is its fullness of lively emotions combined with a rather simple plot.

Composition

In the spotlight - female figure Madonna holding her in her arms little son. The girl’s face is full of a certain sadness, as if she knows in advance what awaits her son in the future, but the baby, on the contrary, shows bright, positive emotions.

The Virgin with the newborn Savior in her arms walks not on the floor, but on the clouds, which symbolizes her ascension. After all, it was she who brought Blessing to the land of sinners! The face of a mother with a child in her arms is bright and thought out to the smallest detail, and if you look closely at the baby’s face, you will notice an adult expression, despite his very young age.

By depicting the Divine child and his mother as human and simple as possible, but at the same time walking on clouds, the author emphasized the fact that regardless of whether it is a divine son or a human one, we are all born the same way. Thus, the artist conveyed the idea that only with righteous thoughts and goals is it possible to find a suitable place for oneself in Heaven.

Technique, execution, techniques

A world-class masterpiece, this painting contains completely incompatible things, like the human mortal body and the sacredness of the spirit. The contrast is complemented bright colors and clear lines of details. There are no unnecessary elements, the background is pale and contains images of other light spirits or singing angels behind the Madonna.

Next to the woman and baby are saints who bow before the Savior and his mother - the high priest and Saint Barbara. But they seem to emphasize the equality of all the characters in the picture, despite the kneeling pose.

Below are two funny angels, which have become a real symbol not only of this picture, but of the author’s entire work. They are small, and with thoughtful faces from the very bottom of the picture they observe what is happening in the life of the Madonna, her extraordinary son and people.

The picture still causes a lot of controversy among experts. For example, the fact that there is no consensus on how many fingers are on the pontiff’s hand is considered very interesting. Some people see not five, but six fingers in the picture. It is also interesting that, according to legend, the artist drew Madonna from his mistress Margherita Luti. But it is unknown who the baby was based on, but there is a possibility that the author based the child’s face on an adult.

Art of Italy 16th century. High Renaissance.
The painting “The Sistine Madonna” by Raphael Santi was originally created by the great painter as an altar image for the church of San Sisto (St. Sixtus) in Piacenza. Painting size 270 x 201 cm, oil on canvas. In the painting, the artist depicts the Virgin Mary with the Christ Child, Pope Sixtus II and Saint Barbara. The painting “The Sistine Madonna” is one of the most famous works of world art. In Renaissance painting, this is perhaps the deepest and most beautiful embodiment of the theme of motherhood. For Rafael Santi, it was also a kind of result and synthesis of many years of research in the topic closest to him. Raphael wisely used here the possibilities of a monumental altar composition, the view of which opens in the distant perspective of the church interior immediately, from the moment the visitor enters the temple. From a distance, the motif of an opening curtain, behind which, like a vision, a Madonna appears walking on the clouds with a child in her arms, should give the impression of captivating power. The gestures of Saints Sixtus and Barbara, the upward gaze of the angels, the general rhythm of the figures - everything serves to attract the viewer’s attention to the Madonna herself.

Compared with the images of other Renaissance painters and with the previous works of Raphael, the painting “The Sistine Madonna” reveals an important new quality - increased spiritual contact with the Viewer. In the “Madonnas” that preceded him, the images were distinguished by a kind of internal isolation - their gaze was never turned to anything outside the picture; they were either busy with the child or self-absorbed. Only in Raphael’s painting “Madonna in an Armchair” do the characters look at the viewer, and there is deep seriousness in their gaze, but to a more certain extent their experiences are not revealed by the artist. There is something in the look of the Sistine Madonna that seems to allow us to look into her soul. It would be an exaggeration to talk here about the increased psychological expression of the image, about the emotional effect, but in the slightly raised eyebrows of the Madonna, in the wide-open eyes - and her gaze itself is not fixed and difficult to catch, as if she is looking not at us, but past or through us, - there is a shade of anxiety and the expression that appears in a person when his fate is suddenly revealed to him. It’s like a providence of the tragic fate of her son and at the same time a readiness to sacrifice him. The drama of the mother’s image is highlighted in its unity with the image of the infant Christ, whom the artist endowed with childlike seriousness and insight.

It is important, however, to note that with such a deep expression of feeling, the image of the Madonna is devoid of even a hint of exaggeration and exaltation - its harmonic underlying basis is preserved in it, but, unlike Raphael’s previous creations, it is more enriched with shades of innermost spiritual movements. And, as always with Raphael, the emotional content of his images is unusually clearly embodied in the very plasticity of his figures. The painting “The Sistine Madonna” provides a clear example of the peculiar “multi-meaning” of the simplest movements and gestures inherent in Raphael’s images. Thus, the Madonna herself appears to us as simultaneously moving forward and standing still; her figure seems to float easily in the clouds and at the same time has real weight human body. In the movement of her hands carrying the baby, one can discern the instinctive impulse of a mother hugging her child to herself, and at the same time, the feeling that her son does not belong only to her, that she is carrying him as a sacrifice to people. The high figurative content of such motifs distinguishes Raphael from many of his contemporaries and artists of other eras who considered themselves his followers, and who often hid nothing but an external effect behind the ideal appearance of their characters.

The composition of the “Sistine Madonna” is simple at first glance. In reality, this is apparent simplicity, because the overall construction of the picture is based on unusually subtle and at the same time strictly verified relationships of volumetric, linear and spatial motifs, imparting grandeur and beauty to the picture. Her impeccable balance, devoid of artificiality and schematism, does not in the least hinder the freedom and naturalness of the figures’ movements. The figure of Sixtus, dressed in a wide robe, for example, is heavier than the figure of Varvara and is located slightly lower than her, but the curtain above Varvara is heavier than above Sixtus, and thereby the necessary balance of masses and silhouettes is restored. Such a seemingly insignificant motif, like the papal tiara, placed in the corner of the picture on the parapet, has a large figurative and compositional meaning, bringing into the picture that share of the sensation of the earth’s firmament that is required to give the heavenly vision the necessary reality. The expressiveness of Raphael Santi’s melodious lines is sufficiently evidenced by the contour of the Madonna’s figure, powerfully and freely outlining her silhouette, full of beauty and movement.

How was the image of the Madonna created? Was there for him real prototype? In this regard, a number of ancient legends are associated with the Dresden painting. Researchers find similarities in the Madonna's facial features with the model of one of the women's portraits Raphael - the so-called “Lady in the Veil” (“La Donna Velata”, 1516, Pitti Gallery). But in resolving this issue, first of all, one should take into account famous saying Raphael himself from a letter to his friend Baldassare Castiglione that in creating the image of perfect female beauty he is guided by a certain idea that arises on the basis of many impressions from the beauties the artist saw in life. In other words, the basis of the creative method of the painter Raphael Santi is the selection and synthesis of observations of reality.

It is known about this painting that it definitely belongs to the brush of the great Raphael. And besides, he wrote it alone, without assistants. It was commissioned for the Church of St. Sixtus. And naturally, the picture reflects biblical story- the appearance of Christ to the people. The dimensions of the painting are impressive. Three by two meters is approximately the size of the floor in a large room in an ordinary apartment.

The plot of the picture is simple. In the center of the picture is a woman holding a child in her arms. This child is Jesus Christ. A woman steps barefoot on white swirling clouds. To her right is a crouching girl. And on the left is a bearded old man in robes. He points right hand to the right side. At the bottom of the picture are two little angels. That's all characters.

The woman is holding the child in a strange way. She doesn’t hold her close to herself, as all mothers do, but with her back to herself. She is ready to give up her child. The adults in the picture are dressed, and the children are naked. Why doesn't she cover the child? After all, he's probably cold.

The child is not an infant, he is about a year old. And he probably knows how to walk. Look how plump he is, which means he’s healthy and has a good appetite. But still, why without clothes? The child presses his head against his mother's cheek.

Nobody smiles, everyone is in a state of deep thought. Apparently, there is nothing to be happy about and everyone understands this. Even little angels have their faces propped up with their hands and are thinking about something.

The woman is the Holy Virgin Mary, the boy is Jesus Christ. There is no floor, no walls, no ceiling in the painting. It's like she's hanging in the air. Madonna seems to be coming to people. Only the dark green curtains “hint” that everything will soon end and they will be closed. And behind them something will be hidden from human eyes.

Maria is dressed in a beautiful red and blue long dress, her head is covered with a long mustard-colored shawl. On the left, Saint Barbara, seated with her head uncovered, is dressed in bright clothes. The long skirt is also dark - of blue color. She pressed her hands to her chest, her eyes downcast. She doesn't want to look Maria in the eye. As a woman, she understands and sympathizes with her. Her image expresses humility and reverence.

On the other side of Mary, Saint Sixtus fell to his knees. His face is turned to Mary, his hand shows the direction where she needs to go. And the little children with wings put their little hands as if on the edge, I don’t understand why. Since there is a curtain, it means that this is the edge of the stage. Both angels have their eyes turned upward. I wonder what they saw there?

It feels like all the characters know and understand everything. But there is no other choice. This picture could only have been painted by that man, and it is clear that this is a man who has never been separated from his child.

Description of the painting by Raphael Sistine Madonna

500 years have passed since the great Italian painter Rafael Santi created his best work, “The Sistine Madonna,” and there is probably not a person on earth who is not familiar with this painting. Painted for the monastery of St. Sixtus, it is currently kept in the Dresden Gallery.

From a canvas of quite impressive size, the Mother of God with the Child in her arms looks at the viewer with hope, sadness and anxiety. She is wearing simple clothes, and with her bare feet she easily walks on the clouds. The young Mother of God carries her son to people, trustingly hoping that the world will be kind to him and will not harm him. But at the same time, the Virgin Mary is full of humility and understanding that she must fulfill the will of the one she holds in her arms.

The artist paints the Baby Savior in large and strong child. His look is not childishly serious. Unlike his mother, he knows exactly about his great destiny: to fulfill the will of God the Father and become a saving sacrifice for humanity.

The kneeling Pope Sixtus IV reverently looks at the Mother of God and Christ. His image is placed on the left side of the picture. On the right, at the feet of the Mother of God, the artist placed Saint Barbara. Her gaze is turned down to the Earth, to where Christ awaits the crucifixion. The clothes of these saints are incomparably richer and brighter than the simple red and blue robes of the Virgin Mary. But this simplicity does not deceive the viewer. He sees the Queen descending from heaven, giving her child in the name of saving people on Earth.

Behind the back of the Virgin Mary, the artist painted the barely noticeable faces of angels, which at first glance seem like light clouds. Some art historians claim that these are the souls of unborn people. Below are two little angels, very reminiscent of ordinary street urchins. One of them even lost his wing somewhere. But they, too, captivated by the importance and solemnity of the moment, carefully and thoughtfully observe the ongoing miracle of God’s descent to Earth.

Raphael repeatedly depicted the Virgin Mary in his paintings. It was not the “Sistine Madonna” that became such an alloy of beautiful composition, harmony, and meaning that has delighted and fascinated the viewer for five centuries.

Several interesting essays

• Essay on the painting Rest after the battle by Neprinceva, 8th grade

  The canvas “Rest after the battle” was based on the poem “Vasily Terkin”. Actually, after the artist read this poem, he came to the conclusion that he would paint a wonderful canvas on a military theme.

  Anna Nikolaevna is one of minor characters works, sister main character novel by Vera Nikolaevna Sheina.