The Madonna of the Meadow by Raphael (1506) ✎

I saw this exquisite masterpiece in Vienna.

The harmony of the composition is absolutely captivating.

Raphael painted this when he was only about 23 years old. Raphael lived a brilliant but tragically short life, dying at the age of 37 in 1520.

I like the contrast between Mary’s slightly melancholic expression (reflecting her tragic prescience) and the two children playing.

Serene Italian landscape.

Baby Christ’s soft chubby cheeks and baby fat is High Renaissance naturalism.

A departure from the medieval homunculus to the divine as fully human in the flesh.

St John the Baptist giving Christ the cross.

Portrait of Pope Julius II by Raphael (1511–1512) ✎

Captivating.

I’ve seen this portrait so many times, but I’ll never forget my initial shock when first encountering it.

It’s very interesting that Vasari (thirty years after the death of Raphael) wrote of this portrait “it was so lifelike and true it frightened everyone who saw it, as if it were the living man himself.”

For me, the painting has a disarming intimacy and sense of pathos which is executed with Raphael’s technical brilliance.

The artistic details are bewildering: the soft white ermine fur on the red-velvet mozzetta, camauro to match, subtle flesh tones and rings, crisp & starched white surplice etc. The dark green background hides an interesting backstory. 

Pope Julius II was a scary Pope. He had a horrible temper and lead armies into battle himself! And yet, he is depicted as a tired elderly man in a moment of some melancholic reflection. His downward gaze, dejected bearing, distant and worried eyes, the grip on his chair. It is down to his military defeat at the hands of the French.

The previous Pope was Pope Pius III and below (it seems) is his portrait:

Raphael’s portrait is thus revolutionary - very intimate with a three-quarter view turned away from us (in contemplation).

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More on YouTube from the National Gallery talk by Matthias Wivel:

Saint Catherine of Alexandria by Raphael (1503) ✎

This is a very beautiful & important painting at the National Gallery.

Deep emotional intensity, dynamism, and a composition style that typifies the High Renaissance.

Saint Catherine of Alexandria was a legendary Christian saint and martyr. In Christianity, she is revered for her scholarly intellect, and unwavering faith. Said to have challenged the Roman Emperor in philosophical argument against Paganism. She was then imprisoned, tortured on a spiked torture device (“the breaking wheel”) which shattered, and then she was beheaded. (Scholars doubt that such a person actually existed as there is little of mention her before the 9AD).

Raphael captures the instant of divine grace as opposed to the horror and violence of her martyrdom - head raised, eyes gazing heavenwards towards radiant holy light, warmth landing on her, her hand on her heart.

This was painted during Raphael’s “Florentine period”. Based in Florence, he came under the influence of Leonardo da Vinci and Michelangelo and shifted away from the qualities of his Umbrian master, Perugino. This is clear from the contrapposto of her graceful & twisting pose (I’ve discussed this before vis-a-vis David by Raphael and Leda and the Swan by Leonardo da Vinci). We also have the classical pyramid composition, atmospheric depth, and delicate sfumato.

     

The peaceful landscape is a common motif, but still wonderful to look at.

Her face is very interesting - foreshortening, the shuttle sfumato blurring which avoids harsh lines in fleshy tones. She also has that Florentine High Renaissance idealisation of feminine beauty (which Da Vinci is most famous for) - smooth, soft and delicate complexion, subtle contours etc.

The Barberini Palace collection ✎

I managed to visit the Palazzo Barberini in Rome. It is an absolute must for art lovers with a special focus on the Renaissance and Baroque.

I couldn’t get tickets to the Caravaggio exhibition which had sold out months in advance. But, still pleased to see Raphael, Titian, Artemisia Gentileschi ... I was pleased to come across Giovanni Lanfranco and Mattia Preti.

It was also a quiet refuge from the hussle-and-bussle of Rome.

I have uploaded a selection on the most interesting paintings/artists.

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The Annunciation by Fra Filippo Lippi

I absolutely love Fra Filippo Lippi.

Probably my favourite of the Italian early Renaissance.

I think he manages wonderfully infuse tenderness and humanism (with a certain wistfulness) whilst also preserves the elegance and dignity of a subject in the devotional art. Here, the Madonna is regal.

His use of perspective is innovative for its time. It’s as if we’re walking into a humble devotional abode.

The detailed decorative style is striking.

The curly hair, the laurel headpiece, the crinkles in the arm’s garment.

The golds in the robes, the gradations of the peacock-like angel wings,

The ornate/red bedspreads and so on ...

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The Tarquinia Madonna by Fra Filippo Lippi

Use of perspective & space to create an illusion of the Madonna

holding up her baby on her rounded throne.

Sadness. But sweetness in caressing his mother’s neck, consoling?

Chubby christ?

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Madonna and Child by Neri Di Bicci

A Florentine devotional painting of the 15th century.

Pomegranate motif. Gold background, halos.

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Nativity with Saints Lawrence and Andrew by Antoniazzo Romano

Never heard of this artist.

He was the leading figure of Roman art during the latter part of the 15th century.

Detailed depictions overlaid with iconography.

Reminds me a little of Botticelli’s “Mystical Nativity”.

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St Jerome in the Wilderness by Perugino

Perugino was Raphael’s teacher and his art can be seen in the Sistine Chapel.

Saint Jerome was a scholar who translated the bible into latin.

Beautiful painting depicting him as hermit.

Two angels in the background are the divine presence.

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Virgin and Child with St. Paul and St. Francis by Antoniazzo Romano

Same artist as above. Gold background and formal figures.

More naturalistic poses. St Francis also reminds me of Botticelli.

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St Philip Benizi by Perugino

Story to the painting = Saint in moment of contemplation.

Classic perugino with a dignified rendering. Sense of calm, and gentle colours.

Saint Benizi was a Florentine nobleman who became a servant of the Virgin Mary.

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Italian Baroque style table

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La Fornarina by Raphael

An exquisite & enigmatic painting by Raphael.

The soft warmth to her skin makes it feel intimate. A knowing and confident facial expression. She seems to be looking out of frame (and away from the viewer). Interesting headdress - symbolic or cultural? The sheer veil of modesty (covering her stomach) was a common theme denoting modesty and sensuality.

Giorgio Vasari talks about a mistress of Raphael’s whom he is reputed to have portrayed. Could this be his lover?

Art historians don’t know who she is. But she is an icon.

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Portrait of Erasmus of Rotterdam by Quentin Metsys

Flemish artist who spent most of his career in Antwerp.

I really love Quentin Metsys. One of the greats of the late 15th century.

This is the v. famous portrait of Erasmus - the scholar and philosopher.

He was a major advocate for religious tolerance, which wasn’t common (for his time).

If I’m not mistaken, he was extremely influential so he was regularly being painted.

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Pope Urban VIII by Gian Lorenzo Bernini

A striking painting by a sculpturer.

Pope Urban the 8th was a Barberini.

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Bust of Pope Urban VII by Gian Lorenzo Bernini

Exquisite.

As you can see above, remarkable likeness.

Marble chiseled into embroidered linen

with the coat of arm of the St Peter’s.

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Portrait of Pope Leo X with two Cardinals by Giuliano Bugiardini

This is a copy of Raphael’s painting.

Pope Leo X succeeded Pope Julius II.

The crimson cardinal red is just so vivid and striking.

Every aspect of the Pope’s garments are intricately painted.

The book and paraphernalia meticulously painted.

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Portrait of Stefano Colonna by Bronzino

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Allegory of the Immaculate Conception by Giorgio Vasari

This was a captivating mannerist painting.

Looks like a tree; but it’s coiled serpent.

Adam and Eve at the base of the tree,

Virgin Mary with angels triumphing over the Satan.

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The Entombment of Christ by Jacopino Del Conte

Christ’s body being taken post-Crucifixion.

Clear mannerism with gaunt and rotting flesh.

Interesting artist. First time coming across him.

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David with the head of Goliath by Gian Lorenzo Bernini

The youthful and powerful self-portrait of Bernini as David, the biblical hero.

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Judith with the head of Holofernes by Jan Metsys

The son of Flemish painter Quinten Matsys.

Judith as a seductress as well as warrior.

He was an artist in the School of Fontainebleau, with its elongated Mannerism and sensuality.

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Angel holding the lifeless body of Christ by Jacob de Backer

There is a touching solemnity to the angel’s mournful assistance.

A beautiful mannerist angelspietà with twisting and elongation.

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The Agony in the Garden by Jacobo Bassano

When Christ goes to the Garden of Gethsemane to pray before his arrest.

The Venetian paints an angel consoling and comforting Christ.

The angel illuminates Christ in the night.

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Venus and Adonis by Titian

This painting shows the last desperate embrace between Venus (goddess of love) and her mortal lover (the hunter Adonis) before his tragic death.

A workshop version of the one at the Prado.

There is academic debate about these painting.

I don’t care for the chapeau much.

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Christ and the Adulteress by Tinteretto

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Penitent Magdalene by Charles Mellin

Beautiful painting.

Charles Mellin was a French painter in Rome during the Baroque.

Mary Magdalene in a state of penitence and contemplation.

Also, quite sensual and elegant, one has to say.

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St. Luke Healing the Dropsical Child by Giovanni Lanfranco

In this gallery, I came across a number of Giovanni Lanfranco’s paintings. I had never come across his works before.

He was a contemporary of Caravaggio and it’s obvious with the dramatic lighting. An intense atmosphere with a moving depiction of Saint Luke as both doctor and saint to the little boy.

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St Jerome sealing a letter by Guercino

Very intense & stillness to Guercino (aka: “squinter”).

He painted this in the early part of his career (the “vigorous manner”): intense chiaroscuro and profound emotion.

He painted this before his move to Rome to work for Pope Gregory 15th.

Objects on the table (= candlestick and book) are a nod to the Saint’s intellect of translating the bible into latin.

Feet, slightly calloused and dirty — a symbol of his poverty and devotion?

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Saint Luke by Guercino

So very beautiful.

Another copy of this painting can be found in America.

This shows the interesting transition from the earlier strong chiaroscuro influence to a latter more “classical” approach.

I love the folds and intensity colour of St Luke’s robes. The bull (on the shelf) is a subtle clue to his iconography.

The veins on St Luke’s hands are striking - Guercino adding a touch of vulnerability to Saint Luke.

The depiction is just so lovely. Mother Mary is the image of compassionate & divine love.

Capturing the inspiration of Saint Luke.

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Bust of Emperor Marcus Aurelius Antoninus by Roman Sculptor (c. 212 AD)

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Doryphoros (Roman Copy) by Polykleitos (c. 1st Century BC)

Such an important & influential piece of art history.

This original Greek sculpture was considered the epitome of classical proportions and ideal male form. It emerged in Ancient Greece as a testament to their fascinating in the human form.

Standing in a relaxed contrapposto pose, it gives the human form a sense of balance.

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The suicide of Cleopatra by Giovanni Lanfranco

Capturing the tragedy of Cleopatra’s suicide.

A regal and defiant pose, a quiet dignity in her death.

And striking contrast between her pale skin and rich regal attire.

Another successful Baroque artist who lived in the same time as Caravaggio and Guercino. Guercino’s influence in the threaticality (rich colours, intensity of her pose) as she lays back against a chaise lounge.

Very happy to see Giovanni Lanfranco.

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Judith beheads Holofernes by Francesco Furini

Judith’s face is haunting and terrifying.

Her eyes. Wide and intense. Angry.

She’s a ferocious warrior with determination and focus as she carries out this gruesome task.

The 3rd party is Abra (Judith’s elderly assistant) and her expressions seems occluded.

Why does Furini paint a clean blade?

And yet significant blood dripping down the white garment.

Is Furini trying to say that Judith does not bear moral responsibility?

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Portrait of the Quarantotti family by Marco Benefial

Never heard of this artist, but this was a wonderful painting.

The cleric in the painting is Giovanni Rattista. He commissioned the portrait. Clearly emphasising his “scared” status and oratory.

His family don’t seem that interested in him.

Everyone is showing off in this portrait.

Rather unusual family portrait, Benefial shows us a peculiar freedom.

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Female Nude from Behind by Pierre Subleyras

Pierre Subleyras was a French artist who lived in Rome. He won the Prix de Rome in his time which was a prestigious award to study in Rome.

Here the artist shows off his skill in capturing a private moment of beauty and vulnerability.

The nude was a subject of allegory and mythology, but it becomes something different here:

A naked woman is all we can see. Subleyras strips his subject of her clothes, and of any iconographic frills or anecdotal pretexts. We can’t recognize her as a goddess, a nymph, an allegory, nor do we know if it is just a model, a lover or the painter’s wife ... This woman’s identity escapes us. But who said that identity should be conveyed only through the exhibition of ritual effigy, of sumptuous dresses, of the symbols of roles? Intimacy opens a gap for itself overturning, quite literally, the conventions of official portrait painting ... Subleyras anticipates by a century the shock that another Frenchman, Eduard Manet, will cause with his Olympia, creating a much greater stir.

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View of the Rialto Bridge by Canaletto

Got to love Canaletto.

I’ve been on this bridge.

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View of Venice by Canaletto

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The Banquet of the Rich Glutton by Mattia Preti

First time coming across this artist. It seems he was a major Baroque artist.

The rich man indulging his pleasures ... with a beggar in the background.

A social commentary on inequality, perhaps? The glutton's gaze is quite intense. It makes us feel uncomfortable?

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The Resurrection of Lazarus by Mattia Preti

Another powerful Pretti painting of Baroque art.

Man behind Lazarus holding his nose (realism).

Unsettling decaying body makes it arresting.

Someone seems to be wearing glasses too.

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Barberini Palace entrance