September 17th, 2016


Про Рафаэля

На выставку Рафаэля можно было бы смело отправляться даже в том случае, если бы на ней была всего одна из представленных ныне картин. Например: Madonna del Granduca. Я её не в первый раз видел. Но и ещё бы пожелал себе many happy returns.

Некто C.B. Liddel (не без основания и не в одиночестве) считает, что картина демонстрирует disconcerting unity:
But despite the visual balance this composition creates, the picture also strikes an unintended odd note — at least for modern audiences. The infant seems both too precocious and just a little too large and well-fed; while his mother, due to her expressionless face and downcast eyes, gives the impression of being drained by the effort of bearing and rearing him. The child’s questing glance could almost be misinterpreted as a search for further sustenance.
Such are the perils of departing from realism, something that Raphael did much less in his other works, including a portrait of himself, painted around the same time. The essence of his art, however, was imparting sweetness and serenity to religious subjects. In terms of theological history, this period was the calm before the storm of the Protestant Reformation, when art would increasingly become a propaganda tool in a sectarian struggle. Raphael’s work seems to capture perfectly the mood of preceding peace and complacency.
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Мне вот подумалось в этой связи: многие ли посетители выставки почувствуют disconcerting unity в этой картине?
Я бы сам так сформулировал: да, odd note тут есть, но я этого никогда не чувствую. Чего и всем!