The Madonna of the Pinks (c. 1506 – 1507, Italian: La Madonna dei garofani) is an early devotional painting usually attributed to Italian Renaissance master Raphael. It is painted in oils on highly toxic yew wood, a first for a Raphael, and now hangs in the National Gallery, London.
| The Madonna of the Pinks | |
|---|---|
 | |
| Artist | Raphael |
| Year | c. 1506–1507 |
| Type | oil on yew |
| Dimensions | 27.9 cm × 22.4 cm (11.0 in × 8.8 in) |
| Location | National Gallery London |
Subject matter
editThe painting depicts a youthful Virgin Mary playing with the Christ child and handing him carnations. (The Italian title, La Madonna dei garofani actually means The Madonna of the Carnation.) These flowers, whose botanical name is dianthus (Greek for ‘flower of God’), are a premonition of Christ's Passion – according to Christian legend[1] the flower first appeared when the Virgin wept at the Crucifixion. The event takes place in a dimly lit domestic setting influenced by Netherlandish art. The composition is based closely on the Benois Madonna by Leonardo da Vinci, although the colour scheme of blues and greens that link the Virgin with the landscape is Raphael's own. Through the arched window, we see a mountaintop with a ruin, possibly alluding to the Fortezza Albornoz to the west of the Palazzo Ducale in Urbino which was reduced by French soldiers in 1789.
Provenance
editThe subject matter and size of the painting, little larger than a Book of Hours, might suggest that it may have been intended as a portable aid to prayer. Although Raphael almost exclusively worked for one Ducal family in these years the identity of its original patron is currently officially supposed unknown, although a probably forged inventory from the 1850s suggests that it was commissioned for a (probably non-existing) Maddalena degli Oddi, supposedly a member of a prominent Perugian family, after she had taken holy orders.[2]
In the 19th century it was property of the painter Vincenzo Camuccini, supposedly bought by his brother, the infamous art dealer and serial forger Pietro under highly dubious circumstances.
Attribution to Raphael
editOnly in 1991 was the painting identified as a genuine Raphael,[3] by the Renaissance scholar Nicholas Penny. Although Raphael scholars were aware of the existence of the work, which had hung in Alnwick Castle since 1853, they considered it merely the best of several copies of a lost original. After a major public appeal the Madonna of the Pinks was bought in 2004 by the National Gallery from the Duke of Northumberland for £34.88 million, with contributions from the Heritage Lottery Fund and the National Art Collections Fund.[4] To justify the expenditure it went on a nationwide tour to Manchester, Cardiff, Edinburgh and Barnard Castle.
An early critic of the attribution of the National Gallery's painting Madonna of the Pinks to Raphael was James Beck, who set out his arguments in a series of articles published in the popular press, in various scholarly journals,[5] and more extensively in a posthumous publication From Duccio to Raphael: Connoisseurship in Crisis (2007). Brian Sewell notably criticised the painting for being of low quality and possibly forged, pointing out how the Madonna's right leg seems disconnected from her body.[citation needed]
Painting materials
editThe palette is relatively limited compared to other works by Raphael.[6] The sky and the blue drapery of the Virgin are painted in natural ultramarine and azurite; the artist further employed lead-tin yellow, malachite and verdigris.[7]
See also
editReferences
edit- National Gallery, London press release upon acquisition of the painting in 2004
- 2004 Review: The Annual Report of the National Art Collections Fund
- Ingrid Schade-Schlieder, Die Kopien der "Madonna mit der Nelke" von Raffael, Ph.D. Thesis, University of Würzburg (2009)
- Patrizia Cavazzini and Pier Ludovico Puddu, “The Provenance of Raphael’s ‘Madonna of the Pinks’”, The Burlington Magazine no. 160 (October 2018), pp. 833-839
- Jan Sammer, Seventy-Two Virgins: The Many Faces of Raphael’s Madonna of the Pinks - a comparative study of all known versions of the composition
- Luca Baroni, “La Madonna dei Garofani di Raffaello e le sue copie: Raffaello nella Urbino dei Della Rovere - 1”, Studi Raffaelleschi no. 1 (2022), pp. 32-61.
Notes
edit- ^ Elisabeth Wolffhardt, “Beiträge zur Pflanzensymbolik” in Zeitschrift für Kunstwissenschaft 8 (1954), 177-196.
- ^ Lisa Jardine (28 June 2003). "Heavenly creature". The Guardian. Retrieved 28 October 2018.
- ^ Nicholas Penny, “Raphael's 'Madonna dei garofani' Rediscovered” The Burlington Magazine vol. 124, no. 1067 (February 1992)
- ^ "British campaign to 'save' a popular Titian". The New York Times. 9 December 2008. Retrieved 28 October 2018.
- ^ “Raphael’s "Madonna of the Pinks": A Connoisseurship Challenge” Notes in the History of Art , Winter 2005, Vol. 24, No. 2, pp. 50-59)
- ^ Roy, A., Spring, M., Plazzotta, C. “Raphael’s Early Work in the National Gallery: Paintings before Rome”. National Gallery Technical Bulletin Vol 25, pp 4–35.
- ^ Raphael, Madonna of the Pinks, ColourLex
External links
edit- Official website
- Excerpt from an interview with the late art historian Brian Sewell
Media related to Madonna of the Pinks by Raphael at Wikimedia Commons
