Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)
作者
Raphael 拉斐爾
｜
典藏者
Museum of Fine Arts Budapest
Right up to the end of the last century Raphael was honored as the unsurpassable peak of painting: the master who recreated the spirit of classical antiquity and transcended its achievements. The timeless harmony, serene palette, and peerless grace of his pictures served as a model for centuries. And if since then the public has come to feel closer to tortured geniuses wrestling with themselves, if the struggling torso pleases more than final perfection, the fact remains: every idea and aspiration of the Italian Renaissance reached its culmination and attained perfect synthesis in the art of Raphael.
In spite of being left unfinished (the Virgin's face and the figures of the children remain in the underpainting phase), the Esterházy Madonna represents the most perfect moment even of this absolute art: the end of the Florentine years, before Raphael, moved to Rome where he would move on and begin to deconstruct the harmony. It is still the season of synthesis, and as if the express intention was to pay homage to his predecessors, the posture of the Madonna was developed from Leonardo's paraphrase of an admired classical statue (the Crouching Venus). The pyramidal geometric structure, which masterfully directs the viewer's attention to the scroll held by Saint John the Baptist, also derives from Leonardo's ideas. If the picture reached completion, this scroll would bear John's prophecy on Jesus's role as redeemer: 'Behold, the Lamb of God, who takes away the sin of the world!'
Axel Vécsey
一直到上世紀末，拉斐爾都被譽為繪畫的無上巔峰：再現古典古典精神並超越其成就的大師。幾個世紀以來，他的照片中永恆的和諧、寧靜的色調和無與倫比的優雅一直是典範。如果從那時起，公眾越來越接近與自己搏鬥的受折磨的天才，如果掙扎的軀干比最終的完美更令人愉悅，那麼事實仍然存在：意大利文藝復興時期的每一個想法和願望都達到了頂峰，並在藝術中達到了完美的結合拉斐爾的。
儘管未完成（聖母的臉和孩子們的形象仍處於底漆階段），但埃斯特哈齊麥當娜代表了這種絕對藝術中最完美的時刻：佛羅倫薩時代的結束，拉斐爾之前搬到羅馬，他將繼續前進並開始解構和諧。現在仍然是合成的季節，彷彿表達的意圖是向他的前輩致敬，麥當娜的姿勢是從列奧納多對一尊受人尊敬的古典雕像（蹲伏的維納斯）的釋義發展而來的。金字塔的幾何結構巧妙地將觀眾的注意力引導到施洗者聖約翰手中的捲軸上，這也源於達芬奇的想法。如果這幅畫完成，這捲軸上將載有約翰關於耶穌作為救贖者角色的預言：“看哪，上帝的羔羊，除去世人罪孽的！”
詳細資訊
標題: Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)
建立者: Raphael
建立日期: ca. 1508
實際尺寸: 28.5 x 21.5 cm
類型: paintings
發布者: Museum of Fine Arts Budapest
權利: http://www.szepmuveszeti.hu/rights_and_reproductions
外部連結: http://www.szepmuveszeti.hu/adatlap_eng/8911
材質: tempera and oil on wood
Inventory Number: 71
In spite of being left unfinished (the Virgin's face and the figures of the children remain in the underpainting phase), the Esterházy Madonna represents the most perfect moment even of this absolute art: the end of the Florentine years, before Raphael, moved to Rome where he would move on and begin to deconstruct the harmony. It is still the season of synthesis, and as if the express intention was to pay homage to his predecessors, the posture of the Madonna was developed from Leonardo's paraphrase of an admired classical statue (the Crouching Venus). The pyramidal geometric structure, which masterfully directs the viewer's attention to the scroll held by Saint John the Baptist, also derives from Leonardo's ideas. If the picture reached completion, this scroll would bear John's prophecy on Jesus's role as redeemer: 'Behold, the Lamb of God, who takes away the sin of the world!'
Axel Vécsey
一直到上世紀末，拉斐爾都被譽為繪畫的無上巔峰：再現古典古典精神並超越其成就的大師。幾個世紀以來，他的照片中永恆的和諧、寧靜的色調和無與倫比的優雅一直是典範。如果從那時起，公眾越來越接近與自己搏鬥的受折磨的天才，如果掙扎的軀干比最終的完美更令人愉悅，那麼事實仍然存在：意大利文藝復興時期的每一個想法和願望都達到了頂峰，並在藝術中達到了完美的結合拉斐爾的。
儘管未完成（聖母的臉和孩子們的形象仍處於底漆階段），但埃斯特哈齊麥當娜代表了這種絕對藝術中最完美的時刻：佛羅倫薩時代的結束，拉斐爾之前搬到羅馬，他將繼續前進並開始解構和諧。現在仍然是合成的季節，彷彿表達的意圖是向他的前輩致敬，麥當娜的姿勢是從列奧納多對一尊受人尊敬的古典雕像（蹲伏的維納斯）的釋義發展而來的。金字塔的幾何結構巧妙地將觀眾的注意力引導到施洗者聖約翰手中的捲軸上，這也源於達芬奇的想法。如果這幅畫完成，這捲軸上將載有約翰關於耶穌作為救贖者角色的預言：“看哪，上帝的羔羊，除去世人罪孽的！”
詳細資訊
標題: Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)
建立者: Raphael
建立日期: ca. 1508
實際尺寸: 28.5 x 21.5 cm
類型: paintings
發布者: Museum of Fine Arts Budapest
權利: http://www.szepmuveszeti.hu/rights_and_reproductions
外部連結: http://www.szepmuveszeti.hu/adatlap_eng/8911
材質: tempera and oil on wood
Inventory Number: 71
