Raphaelイタリア, 1483–1520カーネーションの聖母
Madonna of the Pinks
見られますか？
不明
『カーネーションの聖母』は今どこに？ 所蔵: ナショナル・ギャラリー, ロンドン. 不明.
ロンドン, イギリス
所蔵者は判明していますが、現在展示中かどうかは不明です。
- この状態になった日
- 出典
- 美術館
この絵画について
『カーネーションの聖母』（カーネーションのせいぼ（伊: Madonna dei Garofani, 英: Madonna of the Pinks））は、盛期ルネサンスの画家ラファエロ・サンティが1506年から1507年頃に描いた絵画。イチイ材に油彩で描かれた板絵で、ロンドンのナショナル・ギャラリーが所蔵している。
作品データ
- 収蔵番号
- NG6596
カタログ収録
出典
- ウィキデータ
- 画像： ナショナル・ギャラリー — Raphael · Public domain · Wikimedia Commons
その頃、Raphaelの人生では
生涯をすべて見る1500
Called a master at seventeen
In December 1500 Raphael is first described as a “master”, that is, fully trained. His first documented work was the Baronci Altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, commissioned in 1500 and finished in 1501; only fragments survive.
1501
In Perugino's workshop
From 1501 Raphael studied and worked in Pietro Perugino's workshop in Perugia; according to Vasari, his early works cannot be told apart from his master's. He often travelled home to Urbino, to Città di Castello and, with Pinturicchio, to Siena.
late 1504
Meets Leonardo and Michelangelo
Having moved to Florence, Raphael met Leonardo da Vinci, Michelangelo and Bartolomeo della Porta and closely studied Leonardo's sfumato. His first Florentine commission, portraits of Agnolo Doni and his wife, was painted under the clear impression of the “Mona Lisa”.
1504
Friendship with Baldassare Castiglione
In Urbino Raphael met the philosopher, writer and patron Count Baldassare Castiglione; they formed a firm friendship and correspondence, including the famous letters about the fresco “The Triumph of Galatea”.
1504
To Florence, to study
The mother of the next Duke of Urbino gave Raphael a letter of recommendation to the Gonfaloniere of Florence: “The bearer of this will be found to be Raphael, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study.” She called him “a sensible and well-mannered young man”.
1508
Moves to Rome at the invitation of Julius II
The new pope, Julius II, invited Raphael to Rome, perhaps at the suggestion of his architect Bramante, a distant relative of the artist. Unlike Michelangelo, kept waiting for months after his summons, Raphael was immediately commissioned to fresco what was to become the pope's private library, a far larger commission than any he had had before.
