Madonna di Foligno Raphael (1483-1520)
Raphael – Madonna di Foligno
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Painter: Raphael
Location: Vatican Museums (Musei Vaticani), Vatican.
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One day in the town of Foligno lightning struck near the house of a wealthy man, but no one was hurt, nothing was charred and not even a fire occurred. To commemorate this amazing event, the man - his name was de Copney - commissioned Raphael to make an icon of Our Lady that would help him never forget how close he had once come to being killed and how far away he was at that moment from God, repentance and the absence of sins. So Raphael set to work.
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Description of Raphael Santi’s Madonna di Foligno
One day in the town of Foligno lightning struck near the house of a wealthy man, but no one was hurt, nothing was charred and not even a fire occurred. To commemorate this amazing event, the man - his name was de Copney - commissioned Raphael to make an icon of Our Lady that would help him never forget how close he had once come to being killed and how far away he was at that moment from God, repentance and the absence of sins.
So Raphael set to work. During his life he painted many icons, and most often they were icons of the Virgin Mary. His most famous work is the "Sistine Madonna" and the "Madonna di Foligno" is called a sample of his pen, the forerunner of the famous icon.
At the center of everything, of course, is the Madonna - with a baby in her arms, she floats in the air surrounded by cherubs and clouds against a golden circle symbolizing her holiness. Her face is benign. Her pose is relaxed. Below are the people listening to her apparition.
Awe, disbelief, religious ecstasy are on their faces, de Kopni kneels with his arms folded prayerfully before his chest. Behind them, on the horizon, is a small town. It is Foligno, with its vineyards, its low houses, its mewling dogs, its quiet and honest people. Above it, a trail of fire stretches across the sky - that meteorite, that lightning, that celestial apparition from which the icon was commissioned to celebrate its salvation. It stretches across the sky, crossing it with a golden arc.
The Madonna di Foligno is executed in the general style adopted during the Renaissance. A kind of soft realism, absolutely different from the canons of Orthodox iconography. The people here are simply people, and there is something human in the Mother of God and Christ Himself, albeit combined with the divine. It makes us remember that he is not only God, but God who came down to earth in a human body to atone for the sins of others.
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Это произведение урбинского мастера предшествует такому шедевру всех времен и народов, как Сикстинская Мадонна в дрезденской галерее старых мастеров, и во многом предопределяет его композицию. Картина была заказана папским историком и секретарем Сиджизмондо деи Конти для римской церкви Санта Мария Арачели в 1511 году в честь избавления от смерти, когда в его дом в Фолиньо упал метеорит. Документальных подтверждений падению метеорита в дом Сиджизмондо нет, но имеются версии об ударившей в него молнии и о попадании снаряда при осаде Фолиньо. До 1565 года картина находилась в алтаре церкви святой Марии в Риме, где был захоронен заказчик, а после перевезена в церковь святой Анны монастыря в Фолиньо. В 1797 году Мадонну ди Фолиньо вывезла в Париж наполеоновская армия, где она хранилась некоторое время. После падения Наполеона возвращена в Рим, где в 1958 году была произведена реставрация.
В левой части картины изображен святой Иоанн Креститель и Франциск Ассизский. В правой святой Иероним с коленопреклоненным Сиджизмондо, устремляющим полный благодарности взгляд на Мадонну с младенцем. Мария с младенцем Христом парит в облаках на фоне золотого диска, олицетворяющего Ее небесную славу (другое название картины Мадонна в Славе), в окружении херувимов. Между этими группами, в центре, расположен необыкновенно красивый ангел с несохранившейся памятной надписью на табличке, напоминающий зрителям, что он всегда будет с нами. На фоне всего этого, за ангелом раскинулся пейзаж с городом Фолиньо, работа над которым приписывается феррарскому мастеру Джованни ди Лутери, прозванному Доссо Досси (ок1486 Мантуя – 1542 Феррара). В некоторых местах картины историки искусств увидели работу помощников Рафаэля по мастерской.
Мастерская композиция, тонкий рисунок, умелое и умеренное использование цвета, а главное возвышенный дух Мадонны ди Фолиньо снискал огромную популярность в мире искусства, и сегодня эта алтарная картина становится в один ряд с лучшими шедеврами времен ренессанса.
надписи никогда не было Заказчик умер и не успел сказать что то важное
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Below them, in the earthly realm, a series of figures are arranged in an arc. On the left, Saint John the Baptist, distinguished by his rugged attire made of animal skins and holding a cross, points upwards towards the Madonna and Child. Beside him, a kneeling friar, possibly believed to be Sigmund Bonaiuti, looks up in devotion, clutching a cross. He is dressed in a simple brown habit.
Positioned between the celestial and earthly realms is a cherubic putto, an angelic child with wings, holding a wooden tablet or cartouche. This element often serves as a space for inscriptions in Renaissance art.
On the right side of the composition, a wise, elderly man with a long white beard, likely Saint Jerome, guides the hands of another kneeling figure. This figure, dressed in radiant red robes with ermine trim, is Sigismondo de Conti, the patron who commissioned the altarpiece. Both men gaze upwards with expressions of awe and petition.
The background depicts a landscape with buildings reminiscent of Foligno, Italy, the namesake of the artwork, and a distant city shrouded in atmospheric haze. The overall composition creates a sense of divine revelation and earthly petition, with the figures interceding between the heavenly vision of Mary and Jesus and the hopeful supplicants below.