16th Century, By Raffaello Sanzio, Madonna Of The Carnations

16th century, by Raffaello Sanzio (Urbino, 1483 - Rome, 1520)
Madonna of the Carnations
Oil on canvas 38 x 30 - with frame cm 59 x 52.5

The Madonna of the Carnations, created by Raffaello Sanzio (Urbino, 1483 - Rome, 1520), has become an iconographic model of great success.
The original Raffaello, now on display at the National Gallery in London, was made between 1503 and 1507, when the painter was about 23 years old. The London copy is identified as original, with some fifty copies to prove the great success achieved among the clients (Madonna of Syracuse, Madonna Chatron; there is also a copy made by Federico Barocci - Galleria Borghese) Evident is also the influence on Raffaello by Leonardo da Vinci and, In particular, the Madonna Benois (Hermitage Museum, Saint Petersburg). The sacred image owes its diffusion also to the numerous engravings that circulated from workshop to workshop.
Raphael’s painting is a work of religious character intended for private devotion. Raphael manages to transform the classic subject of the Madonna with Child in a familiar tone. The young mother and son are no longer depicted in rigid, formal poses, as in paintings by previous artists, but have abandoned all formality, They let themselves go into a tenderly intimate attitude and make all the emotions of their relationship shine through. Our Lady exchanges with Jesus some small red carnations that represent by their color the blood that Jesus will shed in the future on the cross (According to tradition, the carnation is considered a symbol of divine love and it is believed that it blossomed from the earth where the tears of the Virgin fell during the Passion of Christ.).
They also refer to the marriage between Christ and the universal Church represented by Mary. Finally, the canopy bed symbolizes the virginity of the Madonna.
This replica, dating from the 16th century, was made by an artist who knew the original Raffaellesco, an image that was mainly spread through engravings. The whole composition is overturned from the autograph copy but here too the Virgin and Child Jesus are in a room immersed in the shadow. Maria is wearing a pink dress (in the original grey) decorated with puff patterns on her sleeves. In addition, he wears the blue coat on which rests the white pillow. The Child is naked (even if a soft cloth core its nudity) and sits on the legs of the Mother and observes the flowers that she holds in her hands. Inside there is a canopy bed and from the window you can see a countryside landscape with some ruins.

The object is in good condition

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