Mary Collecting Blood From the Side of Jesus Art
| Crucifixion with the Virgin, Saints and Angels | |
|---|---|
 | |
| Artist | Raphael |
| Year | 1502–1503 |
| Blazon | Oil on poplar |
| Dimensions | 283.iii cm × 167.three cm (111.v in × 65.9 in) |
| Location | National Gallery, London |
The Mond Crucifixion or Gavari Altarpiece is an oil on poplar console dated to 1502–1503, making it 1 of the earliest works past Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece. Information technology originally comprised four elements, of which 3 survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one console is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome'due south Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.
Background [edit]
This early work past Raphael was commissioned past the wool merchant Domenico Gavari every bit the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, most Raphael'southward abode boondocks of Urbino. The side chapel was dedicated to Saint Jerome, where nearly of the painting's original pietra serena stone frame survives including the inscribed engagement 1503. Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece. Gavari'due south get-go son Girolamo (Jerome) died young.
Primary panel [edit]
The principal panel portrays the Crucifixion of Jesus, against a background of hills in the Umbrian countryside, with a view of Città di Castello in the distance. Jesus looks peaceful fifty-fifty as he is dying on the cross, crowned with thorns and clad only in a loincloth that has an unusual cerise colour. Above, a sun in gilded leaf and moon in silverish foliage appear together in the sky. 2 angels with flowing robes and scrolling ribbons at their waists, one floating to either side of the cantankerous, are using gold chalices like to communion vessels to catch the blood dripping from Jesus' nail-pierced easily and spurting from the wound in his side. To the proper right (Jesus' left) kneels Mary Magdalene, with John the Evangelist continuing behind her. To the proper left (Jesus' correct) his mother Mary stands backside the kneeling Saint Jerome, who is belongings a stone with which the hermit would piously beat out his ain chest.
The two kneeling figures are both reverently contemplating Jesus on the cross, while the ii standing figures are wringing their hands while looking out at the viewer. A console at the top of the cantankerous bears the inscription "INRI", while the foot of the cross bears a Latin inscription in silver letters: "RAPHAEL/ VRBIN / AS /.P.[INXIT]" ("Raphael of Urbino painted this"). The work is lit from the left, consequent with the illumination of the altarpiece past the windows in the chapel.
The main panel measures 283.3 cm × 167.three cm (111.5 in × 65.ix in) and is at present housed in a 19th-century frame.[1] The geometrical precision of the composition suggest it was laid out using a grid, using a rule and compasses to copy from a preparatory drawings. A cartoon of a kneeling person, maybe a report for the effigy of Mary Magdalene, is held by the Ashmolean Museum in Oxford.[2]
The painting was influenced by Perugino, whom Raphael knew while living in Perugia. It is similar to Perugino's c.1502 Monteripido Altarpiece, made the convent of San Francesco al Monte at Monteripido almost Perugia, a like crucifixion scene which has 2 like angels with ribbons communicable the blood of Jesus is chalices, accompanied by four figures, 2 continuing and two kneeling, including the Virgin Mary, John the Evangelist, and Mary Magdalene, but the fourth is Francis of Assisi rather than Saint Jerome. In the Mond Crucifixion, Raphael has used Perugino'due south technique of cross-hatched shadows, only also used his fingers to smear and soften the wet paint in places, leaving some detectable fingerprints. Vasari later on famously commented that no 1 would have believed it was painted by Raphael rather than Perugino if he had not signed it.
Predella [edit]
The two surviving panels of the predella each measure approximately 26 cm × 43 cm (10 in × 17 in) and depict miracles from the life story of Saint Jerome from the Hierominianum of Giovanni d'Andrea. Saint Jerome lived in the late fourth and early 5th century AD, and so he could non have attended the crucifixion, but he is portrayed here as the patron saint of the chapel.
1 of the surviving predalla panels has been in the Museu Nacional de Arte Antiga in Lisbon since 1866. It depicts Eusebius of Cremona raising Three Men from the Expressionless with Saint Jerome's Cloak [3] Eusebius of Cremona was a shut associate and agile supporter of Jerome against the teachings of Origen.
The other surviving predella panel is in the North Carolina Museum of Art in Raleigh, North Carolina. It depicts Saint Jerome saving Silvanus and punishing the Heretic Sabinianus. Saint Jerome is holding back the arm of the executioner set to behead bishop Silvanus, but the heretic Sabinianus has been miraculously decapitated instead.[4]
Provenance [edit]
The primary panel was bought by Cardinal Fesch in 1808 for 2500 scudi, and replaced in the chapel by a copy. At the Fesch sale in 1845, it was sold to the Principe di Canino, and chop-chop bought by Lord Ward (later Earl of Dudley). It was so in several English collections, and somewhen caused by Ludwig Mond in 1892, after whose death in 1909 it was acquired by the National Gallery in 1924.
The predella panels seem to have been removed in the 17th century, and given as gifts to a visiting cardinal. The panel in North Carolina was formerly in the collection of Sir Francis Cook at Doughty House, Richmond, London.
Painting materials [edit]
The main panel was analyzed in the National Gallery London[v] and the typical pigments of the Renaissance menstruation were identified. He painted the Crucifixion amongst other pigments with natural ultramarine, lead-tin can-xanthous, verdigris, vermilion and ochres.[6]
References [edit]
- ^ Studying Raphael: frames, National Gallery, London
- ^ Kneeling Figure of a Youth, Ashmolean Museum
- ^ The Miracle of St. Eusebius of Cremona, Museu Nacional de Arte Antiga
- ^ St. Jerome Saving Sylvanus and Punishing the Heretic Sabinianus, North Carolina Museum of Art
- ^ Roy, A., Leap, One thousand., Plazzotta, C. 'Raphael's Early Piece of work in the National Gallery: Paintings before Rome'. National Gallery Technical Bulletin Vol 25, pp iv–35.
- ^ Raphael, The Mond Crucifixion, ColourLex
Sources [edit]
- The Mond Crucifixion, Raphael, National Gallery, London
- Henry, Tom. "Raphael's Altar-Slice Patrons in Città Di Castello", The Burlington Magazine, vol. 144, no. 1190, 2002, pp. 268–278
Source: https://en.wikipedia.org/wiki/Mond_Crucifixion
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