The Virgin of Colonna


size(cm): 45x35
Price:
Sale price1 779 SEK

Description

The Colonna Madonna is a masterpiece of the Italian Renaissance, painted by Raffaello Sanzio in 1508. This painting is a representation of the Virgin Mary holding the Child Jesus in her arms, surrounded by angels and saints.

One of the most interesting aspects of this work is its artistic style. Raffaello is known for his smooth and delicate painting technique, which can be seen in the Colonna Madonna. The figure of the Virgin Mary seems to float in the air, while the angels that surround her seem to be suspended in space.

The composition of the painting is also impressive. Raffaello used a technique called "pyramid composition", in which the characters are arranged in a triangle to create an effect of balance and harmony. The figure of the Virgin Mary is in the center of the pyramid, surrounded by angels and saints.

The use of color in the Colonna Madonna is another highlight. Raffaello used soft and delicate tones, such as pink and light blue, to create an atmosphere of peace and serenity. The golden details in the clothing of the characters add a touch of elegance and richness to the work.

The history of the painting is also fascinating. The Colonna Madonna was commissioned by Cardinal Colonna in 1508, and was part of a series of paintings that Raffaello made for his patron. The painting was stolen in 1798 by Napoleonic troops and was finally returned to Rome in 1815.

As for little-known aspects, it is said that Raffaello used his lover, Margherita Luti, as a model for the figure of the Virgin Mary in the Colonna Madonna. Furthermore, it is believed that the painting was influenced by the work of Leonardo da Vinci, especially the pyramid composition technique.

In summary, the Colonna Madonna is an impressive work that stands out for its artistic style, composition, use of color and its fascinating history. This painting is a perfect example of Raffaello Sanzio's creative genius and his contribution to the Italian Renaissance.

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