Raphael

Raphael
Urbino 1483 – 1520 Rome
Circle of
First half of the 16th century
Mary with Jesus and St. John the Baptist
Oil on wooden panel
50 x 37.5 cm, with frame 69 x 54 cm
Crack in the center of the panel, to be restored

This finely executed work from the first half of the 16th century can be stylistically attributed to the circle of Raphael and reflects the characteristic aesthetics of the High Renaissance. It shows Mary in a red dress and blue cloak, seated in an idyllic landscape, accompanied by the Christ Child on her left and the young John the Baptist on her right. This type of composition, which creates a balanced harmony between the figures and their surroundings, was a favorite motif in Raphael’s school and influenced numerous artists of the time.

Stylistic features and meaning
The composition follows a clear triangular structure that radiates stability and calm. The Madonna is gently inclined to the side, her gaze betokening maternal tenderness, while the Christ Child and John the Baptist are in silent communion with one another. Jesus tenderly touches his mother’s left hand, but his gaze, the only one of the figures depicted, is turned toward the viewer. The modeling of the faces is done in soft, idealized lines with fine light-and-shadow modulation, a technique that illustrates Raphael’s influence on his students.
The landscape in the background is detailed, with trees, mountains, and a calm body of water that adds depth and perspective to the painting. The sky changes from a warm light orange at the horizon to an increasingly deep blue, creating an atmospheric expanse and a gentle transition between the middle and background.
Particularly noteworthy is the fine line work, evident in the faces as well as in the detailed design of the robes. The figures are arranged in curved, flowing movements that achieve a calm and harmonious overall effect – typical of the Raphael school.

Technical investigations and painting process
Scientific analyses, including infrared reflectography, UV fluorescence and X-rays, provide interesting insights into the painting’s creation process: fine preliminary drawings have been discovered in several areas, particularly in the Madonna’s face and in the folds of the robes, which were executed with repeated lines.
Corrections made during the painting process can be seen in the slight changes to the posture of the boy John the Baptist, the Christ Child and the drapery of Mary’s robe, suggesting that the composition was well thought out. Adjustments were also made to the background: originally, the left-hand side of the painting showed two small houses with sloping roofs, which were later painted over and transformed into trees and mountains. Another interesting detail can be seen in the area of the Madonna’s face: infrared images suggest that a horizontal line on the Madonna’s neck, not visible to the naked eye, could indicate an originally higher collar line that was later changed.
The analysis of the pigments shows that the colors used are of high quality: white lead for the flesh tones, vermillion and ochre for the Madonna’s red robe and ultramarine for the blue mantle, possibly mixed with Prussian blue.

Symbolism and iconographic classification
The motif of the Madonna and Child with John the Baptist is one of the most common subjects in Renaissance painting. Mary, as the mediator between heaven and earth, is particularly present due to her central position, while the Christ Child and John are connected through the gaze of John and the affection between children. John the Baptist is often depicted as a forerunner of Christ – his presence in this depiction of Christ’s childhood already points to his future destiny as a preacher and forerunner of the Messiah.
The triangular structure of the composition refers to the divine Trinity and emphasizes the harmony and unity of the pictorial arrangement. The Madonna’s blue cloak, decorated with fine folds, symbolizes her purity and her connection to heaven, while the bright red dress indicates her humanity and role as a mother, or could even be an indication of the Passion of Christ.
The wide pastoral landscape with vedutas in the right background creates a contemplative, almost paradisiacal atmosphere. The water that winds its way through the painting could be interpreted as a symbol of the baptism of Christ in the Jordan. The landscape with the pyramidal arrangement of figures in the immediate foreground is related to Raphael’s “La belle jardinière” from around 1507/08. While the compositional idea is implemented in a similar way in the painting presented here, this depiction captivates through Mary’s more intimate devotion to her son, as well as the inclusion of the viewer through Jesus’ cheeky sidelong glance.

Conclusion
This painting is an excellent example of the art of Raphael’s circle, embodying the aesthetics of the High Renaissance in idealized beauty, fine modeling and harmonious composition. Scientific analysis shows that it was carefully executed with fine underdrawing, well-thought-out corrections and an exquisite color palette. With its calm sublimity and masterful execution, this work stands in the tradition of highly significant images of saints from the early 16th century.