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Collection:
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ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
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Preferred Title:
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Madonna of the Chair
Work_PrefTitle
Madonna of the Chair
Preferred Title
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Alternate Title:
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Madonna col Bambino e San Giovannino (Madonna della seggiola)
Work_AltTitle
Madonna col Bambino e San Giovannino (Madonna della seggiola)
Alternate Title
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Image View:
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Detail, Madonna with Christ Child and St. John the Baptist (right) (cropped frame)
Image_Title
Detail, Madonna with Christ Child and St. John the Baptist (right) (cropped frame)
Image View
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Creator:
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Raphael (Italian painter, 1483-1520)
Agent_Display
Raphael (Italian painter, 1483-1520)
Creator
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Location:
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repository: Palazzo Pitti (Florence, Tuscany, Italy) N. Inv. 151
Work_Location_Type_D isplay
repository: Palazzo Pitti (Florence, Tuscany, Italy) N. Inv. 151
Location
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Location Note:
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Piazza Pitti, 1; Palatine Gallery
Work_LocationNotes
Piazza Pitti, 1; Palatine Gallery
Location Note
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GPS:
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43.76526 11.25029
GPS
43.76526 11.25029
GPS
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Date:
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ca. 1514 (creation)
Work_DateDisplay
ca. 1514 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Renaissance
Work_StylePeriodDisp lay
Renaissance
Style Period
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Work Type 1:
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tondo
Work_Worktype1
tondo
Work Type 1
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Work Type 2:
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panel painting
Work_Worktype2
panel painting
Work Type 2
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Classification:
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painting
Work_Classification
painting
Classification
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Material:
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oil paint on panel
Work_MaterialDisplay
oil paint on panel
Material
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Technique:
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oil painting (technique)
Work_Technique
oil painting (technique)
Technique
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Measurements:
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71 cm (diameter)
Work_MeasurementDisp lay
71 cm (diameter)
Measurements
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Description:
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In Rome, Raphael painted fewer devotional works for domestic settings such as had played so important a part in his oeuvre in Florence. Raphael’s other great devotional painting of the type of the Alba Madonna, the Madonna della Sedia (c. 1514; Florence, Pitti), also a tondo, is completely different. It shows the richness of colour and surface typical of his portraiture of the same date and an intimacy, enhanced by the way forms seem to grow out of darkness and to press against and swell out of the picture plane. It embodies a more sensuous idea and a more organic compositional scheme, albeit one no less cunningly transgressive of anatomical and logical correctness. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
In Rome, Raphael painted fewer devotional works for domestic settings such as had played so important a part in his oeuvre in Florence. Raphael’s other great devotional painting of the type of the Alba Madonna, the Madonna della Sedia (c. 1514; Florence, Pitti), also a tondo, is completely different. It shows the richness of colour and surface typical of his portraiture of the same date and an intimacy, enhanced by the way forms seem to grow out of darkness and to press against and swell out of the picture plane. It embodies a more sensuous idea and a more organic compositional scheme, albeit one no less cunningly transgressive of anatomical and logical correctness. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
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Identifier:
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7A1-RS-PG-MDS-A02
Image_OriginalVendor ID
7A1-RS-PG-MDS-A02
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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