What is known about the first painting of the great Leonardo: "Madonna of the Carnation"

2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55

The Madonna of the Carnation is a painting by Leonardo da Vinci and is on permanent display at the Alte Pinakothek (Alte Pinakothek), Munich. It is believed that this work was written at the end of the 15th century, between 1472 and 1480. This is the first independent creation of the artist.

Motive in the works of other artists

The Madonna of the Carnation was a common motif for Medieval and Renaissance artists. Other famous paintings with this subject belong to the brush of Raphael and Bernardino. The image of the Madonna of the da Vinci carnation, at first glance, is relatively conditional. Baby Jesus is somewhat more realistic than other examples of the motive. If da Vinci had created this work back in 1472, as some suggested, he would have painted it back in the workshop of Andrea del Verrocchio, to which he joined at the age of 14. In the background we see arches through which the landscape is traditional for Italy. The artist managed to create a magnificent canvas, striking in its purity and tenderness. In the work of the young Leonardo, a passion for soft textures and hard materials is already visible (as is practiced in the workshop of a Florentine artist).

Plot

This painting depicts the Virgin Mary seated with an extremely plump and somewhat disproportionate baby Jesus in her lap. In her left hand she holds a carnation, a symbol of healing. Right - holds the Baby. Da Vinci illuminates the faces of Mary and the Baby, but shades the background using the technique of chiaroscuro. Note that the characters do not have eye contact: the child looks up, the mother looks. It seems that the object of their gaze is the main symbol of the picture - the carnation. The interior of the portrait is represented by a room with two windows framing the Virgin Mary. Contemporaries noticed an expressive detail: da Vinci depicts a decanter of water, in which the master managed to convey water as realistically as possible. The artist skillfully uses the color palette as well.

The painting is dominated by brown, red and gold tones. It seems that the entire canvas is flooded with a special light (this is also a tribute to chiaroscuro). Leonardo creates a canvas on a religious theme, how is his Madonna depicted? This is an ordinary beautiful woman who holds her baby in her arms. And he playfully amuses himself with a flower. Nice family idyll. If the viewer did not know that this is the Virgin Mary and Christ, he might well think that these are ordinary people. The heroes of his creation come to life. It seems that in another moment, and they will speak. The details are just as masterfully rendered. Perhaps this is the very picture about which Vasari wrote: “Madonna is a beautiful work that came into the possession of Pope Clement. The details in this painting were a vase of water and flowers, painted with amazing realism, on which there were dew drops that looked more convincing than the real ones. " This work is often compared to the Benois Madonna from the Hermitage. Of course, the picture we are examining is more complex in composition and spatial arrangement, although perhaps less spontaneous. How the work got into the "Old Pinakothek" in Munich after it was acquired by a private German collector, we do not know. At first, due to the strong influence of Verrocchio's workshop, the painting was attributed to him, but today it is absolutely certain that this is the brush of the young Leonardo.

the Virgin Mary

Before us is the Virgin Mary. She is simply and amazingly beautiful. Her features are truly perfect. Wavy brown hair is elegantly styled. The Virgin Mary in Leonardo's work is dressed in lovely clothes and precious jewelry. Clothes made of expensive fabrics are striking in their splendor. It is interesting that the colors and even the shape of her complex dress are in harmony with the style of the mountains in the background of the painting. Her face does not express any feelings. Nothing disturbs the tranquility of her perfect features, and Madonna's half-smile creates an even greater impression of isolation from the world.

Jesus

In the arms of the Virgin Mary we see Christ. The baby stretches out his hands to the flower that his mother is holding. This gesture is very important. He points out that the child is completely innocent, and at the same time predicts the crucifixion that awaits him in the future. In contrast to the calm Madonna, the baby is shown with childlike spontaneity and in the process of active curiosity with a carnation. He purposefully reaches for the carnation that piqued his interest. Jesus is depicted as an ordinary baby, who is somewhat awkwardly reaching for the symbol of passion in Mary's hand. The decision to portray Jesus as a simple infant rather than a deity makes Da Vinci's painting recognizable and familiar to the general public.

Symbolism

The carnation is interpreted as a symbol of healing or a symbol of passion. A crystal vase with delicate flowers speaks of the purity of the heroine. It is she who conveys the innocence and charm of the Virgin Mary. During the Renaissance, the carnation symbolized either the crucifixion or the pure love of the Virgin. Thus, the picture suggests that Christ, even as a baby, accepted his future sacrifice on the cross, and his mother's brooding expression implies her understanding of future events and unconditional love.

In fact, the richness of the drapery, the vastness of the mountain landscape with purple and gold hues, the vitality of cut flowers in a crystal vase and the softness of the Infant's flesh are elements that demonstrate a departure from the more characteristic Verrocchio style. The style takes on those formal features that are characteristic of the mature Leonardo. Moreover, we must not lose sight of the striking similarities - in facial features and other details - with the already mentioned Benois Madonna (the jewel that holds the Virgin's dress on her chest) and with the Uffizi Annunciation. These are works that, in their figurative and expressive invention, quite clearly demonstrate the evolution of Leonardo's style.