Madonna of the Pinks

The Madonna of the Carnation (also: Madonna dei Garofani ) is one of the most famous paintings by Raphael, from his Florentine period.

Description

Raphael represents a youthful Mary, who plays with the Christ child. She hands him red carnations, which accepts the boy. In the iconography of Mary red carnations mean because of their shape, which resembles a nail and the red color of a reference to the Passion of Christ.

Mother and child sitting on a bench in front of a window from which opens the view into a vast landscape with a ruined castle, symbol of the end of the pagan world with the birth of Jesus.

History

The Virgin with the Child and the cloves in the art world is also known as the Madonna of the Pinks. The image is a free interpretation of the known Benois Madonna by Leonardo da Vinci, and was probably painted by Raphael at the end of his stay in Florence. The image referred to in the ancient literature was known in the art for a long time only by numerous copies and was considered lost until the beginning of the 90s of the 20th century, the advance likewise viewed as a copy version in the collection of the Duke of Northumberland by Nicholas Penny as has been recognized and published original. As a result, many well-known art historian Hugo Chapman, David Alan Brown and Everett Fahy joined him.

The picture was probably in several Italian and French collections before it was acquired in 1828 by the painter, art connoisseurs and dealers Vincenzo Camuccini. From its Roman collection acquired it in 1853 the 4th Duke of Northumberland. It remained in the collection until 1991. Having discovered as the work of Raphael the image of the 10th Duke of Northumberland of the National Gallery in London as a long- term loan was provided. After 2002, the J. Paul Getty Museum in Los Angeles expressed an interest in acquiring the image, set in the United Kingdom, a comprehensive fundraising campaign to save the image for the country. With the help of many funds from foundations and private donations, the image was acquired for the sum of £ 22 million for the National Gallery in 2004.

After the acquisition of the image were loud, after which it nevertheless is a copy in the image. This was contradicted by the National Gallery vehemently and published extensive reports, which should confirm the authenticity of the image.