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Madonna and Child Enthroned with St.

Get a of for your computer or notebook. ‣ Many critics associate the composition of the Madonna della Seggiola (Sedia) with that of the Madonna della Tenda (so called because of the green curtain that has been drawn to one side, and which forms the background) in the Alte Pinakothek of Munich. Here again the Madonna is shown in a three-quarters view with the Child and the young St John. But a relationship exists among the figures which is absent in the Madonna della Sedia. The Virgin smiles at her Child, whose attention is turned toward St John. The face of the latter bears an expression of loving devotion.

Madonna and Child with Four Saints (Tezi Altarpiece).

The Madonna dell'Impannata in the Pitti Gallery in Florence was also painted with the help of assistants. According to some critics, the assistants executed the entire painting. But others see the master's hand at least in the major figures (some say in the Christ Child, some in St Elizabeth, some in both figures). The composition is innovative in respect to the usual iconography of the holy family. It shows St Catherine, St Elizabeth, Christ, the Virgin and St John gathered together in a group. A large tent is visible in the background and a window covered by linen (the impannata, or cloth covering of a window, which gives the painting its name) can be seen at the extreme right. Like many other works by Raphael, this painting was carried off by the French in 1799 and was not returned until after the Congress of Vienna, in 1815.

The Virgin and the Child or Madonna of the Book by Boticelli“” by .

Madonna and Child with Saints John the Baptist and Girolamo by Piccinelli“” by .

The is housed in the of Firenze.
The painting was commissioned by Cosimo de' Medici andis still in the Palazzo Medici Riccardi in Firenze.

The painting was found by art historian Giuseppe Poggi in 1907 in the psychiatric hospital of San Salvi in Florence. There are several theories about the provenance of the panel: Poggi assigned it to the Villa of Castelpulci, owned by the Riccardi family, who bought Palazzo Medici in 1655. According to another, the Madonna was instead part of the original decoration of the palace.
After having been acquired by the Italian state, it was moved to Palazzo Medici-Riccardi, where now is displayed in the Hall of the Triumphs and Arts in the first floor, near the gallery of Luca Giordano. It has been restored in 2001 by the Opificio delle Pietre Dure.

Orphaned at a young age, Filippo Lippi was raised in the Carmelite convent of Santa Maria in Florence, where he would undoubtedly have seen Masaccio and Masolino at work on the frescoes in the Brancacci chapel. He took vows himself, but proved to be wholly unsuited to religious life. His name surfaces often in court documents. Tried for embezzlement (even tortured on the rack), he lived openly with a Carmelite nun, Lucretia Buti, who was his model and with whom he had a son -- painter Filippino Lippi. His patron Cosimo de' Medici sheltered Filippo in "protective custody" at the Medici palace, hoping to prod him into finishing tardy commissions, but the artist escaped. He was eventually allowed to leave his order and marry Lucretia, but continued to wear a monk's habit and sign his works Fra ("brother") Filippo.

Filippo's Virgin is wistful and slightly melancholy, while the infant's heavy, almost muscular form recalls Masaccio's emphatically three-dimensional figures. Masaccio had used strongly directional light to reveal the form of his figures. Filippo's Virgin and child, on the other hand, are bathed in an overall glow that prevents the modeling of the figures from overpowering the graceful and well-defined line of his composition. As Filippo grew older his reliance on line increased and Masaccio's influence lessened.

Generations of visitors to the Gemeldegalerie in Dresden have been deeply impressed by the way in which Raphael portrayed the Madonna in this painting. It has been reproduced over and over again, and almost everyone is familiar with the putti leaning on the balustrade. The Madonna appears from behind a curtain, confident and yet hesitant. The curtain gives the illusion of hiding her figure from the eyes of the onlooker and at the same time of being able to protect Raphael's painting.

Madonna with Child by Landi“” by (1470-1475). .

Madonna Enthroned with Child and Saints by Bordone“” by  (circa 1530). .

Get a of for your computer or notebook. ‣ The canvas with the Virgin, Child and Saints Sixtus and Barbara, usually called the Sistine Madonna, is characterized by an imaginary space created by the figures themselves. The figures stand on a bed of clouds, framed by heavy curtains which open to either side. The Virgin actually appears to descend from a heavenly space, through the picture plane, out into the real space in which the painting is hung. The gesture of St Sixtus and the glance of St Barbara seem to be directed toward the faithful, whom we imagine beyond the balustrade at the bottom of the painting. The Papal tiara, which rests on top of this balustrade, act as a bridge between the real and pictorial space.

Raphael's pictorial research had been enriched by his solutions regarding the use of light in the Expulsion of Heliodorus and the Liberation of St Peter. These pictorial devices reappear in the Madonna of Foligno, now in the Vatican Museum. The Madonna and Child, borne by a cloud of angels and framed by an orange disk, dominate the group of saints below them, among whom is the donor. This group includes - from left to right - St John the Baptist, St Francis, Sigismondo de' Conti and St Jerome. A small angel at the centre of the composition holds a 'small plaque which was originally intended to carry the dedicatory inscription.

Madonna and Child.
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Comparison and Analysis of: Raphael’s the Madonna …

Carandini, Marie di – (1826 – 1894)
Anglo-Australian soprano
Marie Burgess was baptized at the Church of St Matthew in Brixton, London. She accompanied her family to Hobart in Tasmania as a child (1833) and was there married (1843) to the Italian nobleman the Marchese Jerome di Carandini becoming the Marchesa di Carandini. Using the name of Madame Carandini she made her stage debut in Hobart (1843) and in Sydney she worked under the direction of Isaac Nathan. She first appeared at the Royal Victoria Theatre in Sydney (1845) where she sang excerpts from opera in a succession of variety concerts. Marie Carandini was soon offered leading operatic roles and she performed in concert in Hobart and Sydney (1849 – 1850). She later performed with Catherine Hayes during her triumphal season at the Theare Royal in Melbourne (1855). Her roles included Elvira in Bellini’s La Sonnambula, Gennara in Donizetti’s Lucrezia Borgia, and she was particularly admired as Maria in Donizetti’s Daughter of the Regent.
With the departure of Hayes Carandini was the primadonna of the Melbourne opera. She participated in the festival to inaugrate the new Great Hall of the University of Sydney (1859) and toured through the goldfields and South Australia. Carandini travelled to India, the USA and New Zealand. She performed the song ‘Jessie, the Flower of Dumblane’ at her farewell concert in the Melbourne Town Hall (1892). Marie survived her husband for over two decades as the Dowager Marchesa di Carandini (1870 – 1894) and retired to England (1892) to reside with her daughter. Marie di Carandini died (April 13, 1894) aged sixty-seven, at Richmond Hill, near Bath in Somerset. Her children included Rosa Martha di Carandini (1844 – 1932), the wife of Edward Hudson Palmer (1840 – 1928), Fanny di Carandini, the wife of Sir Henry Morland, Isabella di Carandini, the wife of Sir Norman Campbell, and Elizabeth di Carandini, the wife of John Adams.

Raphael Madonna And Child Enthroned With Saints Essay …

Carra de Vaux, Cesarine Des Roys, Baronne – (1763 – 1849)
French aristocrat and memoirist
Antoinette Francoise Cesarine Des Roys was the daughter of a property manager of Louis, Duc d’Orleans. Cesarine became the wife (1788) of the Baron Carra de Vaux, with whom she resided at the family estate in the Beaujolais and to whom she bore five children. With the rise of the Revolution the family retired to their country estates but the Baron was eventually forced to renounce his family’s feudal revenues after the family received threats from the local population. The family survived the Revolution and Madame Carra de Vaux left a personal written account of her life from the time of her marriage until the enthronement of Napoleon I as emperor (1804) which was published posthumously as Cahiers de memoires inedits de la baronne Carra de Vaux, nee Cesarine Des Roys (1788 – 1804) in the Bulletin de la Societie des Sciences et Arts u Beaujolais (1910). Madame Carra de Vaux was the aunt of the famous novelist and statesman Alphonse Marie Louis de Lamartine (1790 – 1869).

Raphael madonna and child enthroned with saints essay writer

Calvert, Phyllis – (1915 – 2002)
British stage and film actress
Born Phyllis Bickle in London, she studied acting there under Margaret Morris, making her stage debut during childhood (1925), and specialized in the roles of well behaved young ladies. Phyllis Calvert, who also possessed a comic touch, was best remembered as a leading star of the 1940’s. Film credits included roles in Kipps (1941), Fanny By Gaslight (1944), Madonna of the Seven Moons (1944), My Own True Love (1948), which she made in the USA, Mandy (1952), Oscar Wilde (1959). Later roles included appearances in the popular television series Kate (1971), and appearances in film such as Across the Lake (1988) which was made for television, and Mrs Dalloway (1997).

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