The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained . Florence, and was completed by Ghir-landajo, our Madonna is entirely by Raphaels ownhand. With all his youthful enthusiasm he pro-duced a work that is perfect in every detail. Thecomposition is wonderful in its sense of space;there is moderation, a divine purity in the colour;and the whole presents that essence of beauty whichmarked him the greatest of all artists since theGreeks. The genius of Raphael was assimilative. Heabsorbed all th
The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained . Florence, and was completed by Ghir-landajo, our Madonna is entirely by Raphaels ownhand. With all his youthful enthusiasm he pro-duced a work that is perfect in every detail. Thecomposition is wonderful in its sense of space;there is moderation, a divine purity in the colour;and the whole presents that essence of beauty whichmarked him the greatest of all artists since theGreeks. The genius of Raphael was assimilative. Heabsorbed all that was excellent in Peruginos workand rendered it with greater delicacy and spon-taneity. From Fra Bartolommeo, in Florence, helearned the secrets of composition and brought thisto architectural perfection. Under the influence ofMichelangelo, in Rome, he drank in the classicspirit through the study of the antique — yet inno sense at any time sacrificing his individual-ity. The masterpieces that impressed him onlyserved to teach him how to comprehend his ownideal. A comparison of the Madonna of the Meadow with La Belle Jardiniere is pertinent, because. RAPHAEL MADONNA OF THE MEADOWPlate in ImperialMuseum TTbe imperial flDuseum 29 they were painted so nearly at the same time, andare so nearly alike in composition. Both have thepyramid style of composition favoured by FraBartolommeo, but the Vienna picture is superiorin almost every respect. The landscape has agreater space and more the breath of children are perfect in their charm of naturalpose and expression, while those in the Paris pic-ture are less free, more constrained, and the headof the little John is scarcely pleasing — if we shouldcare to say so much. There is also more gracefulease and dignity in the pose of our Madonna, whosefeatures, slightly more mature, are also more beau-tiful— in the Paris painting they are somewhattoo girlishly beautiful for motherhood. When we stand before this Madonna o
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Keywords: ., bookcentury1900, bookdecade191, booksubjectpainting, bookyear1912
