1504 -1520 · motherhood, landscape and grace

Raphael's Virgins and Madonnas form a laboratory of relationships: each gesture between Mary, Christ and little John transforms a familiar image into a new invention.

Raphael develops the theme of the Virgin and Child from small Florentine panels to large Roman visions. In the Goldfinch Madonna, the bird presented to Christ announces the Passion within a luminous landscape. The Madonna of the Meadow builds a clear pyramid where children play around a miniature cross. The Madonna of the Meadow builds a clear pyramid where children play around a miniature cross. The Madonna of the Meadow tightens Mary, Jesus and John in a tondo whose proximity becomes almost tactile. The Madonna in the Chair then tightens Mary, Jesus and John in a tondo whose proximity becomes almost tactile. The Madonna of the Chair then tightens Mary, Jesus and John in a tondo whose proximity becomes almost tactile. The Sistine Madonna then changes scale: Mary advances in the clouds, carrying the Child towards the spectator. Behind the apparent continuity of the subject, Raphael then changes scale: Mary advances in the clouds, carrying the Child towards the spectator. Behind the apparent continuity of the subject, Raphael then changes scale: Mary advances in the clouds, carrying the Child towards the spectator. Behind the apparent continuity of the subject, Raphael then changes scale: Mary advances in the clouds, carrying the Child towards the Madonnas by Raphaël" notably compares Madonna with Goldfinch and Madonna of the Meadow. Its reading favors details.

A Madonna of Raphael always seems simple at first glance; its richness appears when we follow the exact circulation of hands, eyes and omens.