Biography Sistine Madonna

Madonna Rafael of the Roman period “Sistine Madonna”, a picture gallery, Dresden is the most famous picture of Raphael, his most recognizable work in the world. It was ordered by the artist in the year as an altar image for the chapel of the monastery of St. Sixtst in Pian. Rafael abandoned all important and urgent matters in Rome to write a Madonna for the church in a deaf province.

As if he felt: she will become the top of his work. They sometimes say - the creation of the picture is associated with the memory of Pope Julia II. Perhaps something else: Rafael wanted to forever leave the image of his beloved in a distant Piano, more reliable than protected from all kinds of cataclysms than a shaky magnificent Rome. The combination of ideal and deeply earthly image.

So called Raphael. Rafael created her in the c. Picture Gallery, Dresden. The image of Maria is fulfilled by restrained excitement. She looks serious and sadly into the distance. Her noble appearance is full of spiritual purity and beauty. She brings the child to give him to life, the pain because it is not in power to reproduce the inevitable, impotence before the inevitable and forced humility.

It seems that the curtain has just moved apart and the eyes of believers opened a heavenly vision - the Virgin Mary easily stepping on the cloud with a baby Jesus in her arms. Madonna holds Jesus gulliblily clinging to her, carefully and carefully. Holding her baby in her hands, she descends to the ground to people, and her movement, barely perceptible, was transmitted by Rafael with exceptional skill.

Her glory is not emphasized in anything. Bosa's legs. But as the lord meets her, kneeling, Holy Sikst, dressed in brocade, covered by reverence and enthusiasm at the sight of Madonna. The old man turned his head up, looking at the faces of his mother and child. He pressed his left hand to his chest, sharing her anxiety. He extended his right hand to the viewer and a little up, stretching out his index finger.

Taking martyrdom in the city on board is Tiara Pope in the left. On the right is St. Barbara, who was considered the patroness of the city of Piacenza. She is depicted by a lovely young girl. The pose of St. Barbara, her face and a dull gaze express humility and reverence. In the depths of the picture, in the background, barely distinguishable in the golden haze, the faces of the angels are vaguely guessed, enhancing the general exalted atmosphere.

Below, in the foreground, propping their heads with chubby hands, there are two boys-angelic with wings, like that of butterflies, and look up with a detached, dreamy and thoughtful gaze. The presence of these winged boys, more reminiscent of mythological cupids, gives the canvas special warmth and humanity. Madonna, who was calmly sitting in the arms of Madonna, is full of non -childish seriousness, the look is close and attentive.

The genius of Rafael seemed to enclose the divine baby into the magic circle formed by the left hand of Madonna, her falling veil and the right hand of Jesus. A measure reigns in the picture. Bowling and harmony.

It is distinguished by smooth and rounded lines, soft and melodic pattern, wealth and juiciness of color. Madonna herself radiates energy and movement. With this work, Rafael created the most exalted and poetic image of the Madonna in the art of the Renaissance. She goes to people, young and majestic, having alarmed something anxious in her soul; The wind sways the child’s hair, and his eyes look at us, at the world with such great power and with such an insight, as if he sees his fate and the fate of the whole human race.

Her gaze, directed through the viewer, is full of anxious foresight of the tragic fate of her son. Madonna's face is the embodiment of the ancient ideal of beauty in combining the spirituality of the Christian ideal. This is not a reality, but a sight. No wonder the artist himself spread a heavy curtain in front of the audience in the picture. A spectacle that transforms reality, in the greatness of things, wisdom and beauty, a spectacle, exaltation of the soul with its absolute harmony, conquering and ennobles us, the very sight that was longed for and finished by Italy of a high revival in a dream of a better world.

And the sight of this cares to this day. And how many beautiful and true words were said about her for a long time already around the world. For, indeed, as a pilgrimage, Russian writers and artists in Dresden to the “Sistine Madonna”, especially in the first half of the 19th century, went to the pilgrimage. The enthusiastic lines of such different writers and critics as V. Zhukovsky, V.

Belinsky, N. Two great Russian writers, L. Tolstoy and F. Dostoevsky, had reproductions of the “Sikistinsky Madonna” in their working rooms are devoted to this picture. Let us listen to their judgments about the Virgin caring a baby with a non -childish, amazing gaze, about Raphael's art and what he wanted to express in these images. Zhukovsky: “Before the eyes of the canvas, on it, the faces circled by features are on it, and everything is embarrassed in the small space, and, despite that everything is vastly, everything is unlimitedly pushed out, and the secret of heaven was revealed to the eyes of a man walking along heaven, no movement is noticeable; But the more you look at her, the more it seems that she is approaching.

”Bryullov: “The more you look, the more you feel the incomprehensibility of these beauties: each feature is considered, overflowed with the expression of grace, connected with the strictest style of Botkin, sharing with him his impressions of the“ Sistine Madonna ”:“ What a nobility, for the grace of the hand! You can’t look at! I involuntarily remembered Pushkin: the same nobility, the same grace of expression, with the same strict of outlines!

No wonder Rafael loved Pushkin so much: he is his relative by nature. ” He also owns the words: "In her gaze there is something strict, restrained, there is no grace and mercy, but there is no pride, contempt, and instead of all this, some kind of condescension does not forget his greatness." Dostoevsky saw in the "Sistine Madonna" the highest measure of human nobility, the highest manifestation of human genius.

Her large belt reproduction hung over his sofa, on which he died. The wife of F. Dostoevsky in her diary wrote: “Fedor Mikhailovich put the works of Rafael above all in painting and recognized his“ Sistine Madonna ”with his highest work. So the unfading beauty of the truly great works of art inspires the best talents and minds in subsequent centuries. The Sistine Madonna is the embodiment of that ideal of beauty and goodness, which vaguely inspired the national consciousness in the age of Raphael and which Raphael expressed to the end, pushing the curtain, the one that separates the everyday life from an inspired dream, and showed this ideal to the world, all who came after us.

Carlo Maratti expressed his surprise before Rafael: “If they showed me the picture of Raphael and I would not know anything about him, if they told me that this was the creation of an angel, I would believe it.” Goethe’s great mind not only appreciated Raphael, but also found a well -aimed expression for his assessment: “He always created what others only dreamed of creating.” Herzen caught despair in her eyes.

Still, they have more mercy. In the thoughtful, defenseless-stringing Madonna there is a impulse and a stop. And she goes, and soars. The eye is elusive: looks at you and far, far; knows something, sees something