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overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.
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314:, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his
244:(Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the
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the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was
Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
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The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the
Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to
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The
Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of
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balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the
Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind
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Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was
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peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in
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is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol
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The painting also revolutionized singular portrait painting during the
Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ
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period. The figures' accommodation to the shape is skillful. The painting also revolutionized the
Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is
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period, this
Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate
271:'s bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the
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commission is undocumented despite it being created while
Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican
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range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from
Raphael's hand, which was a result of him shuddering off the legacies of
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has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of
Raphael's Madonnas. There are a few enchanting legends connected to the
240:), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to
129:. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.
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made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by
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is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
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Salmi, Mario; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe; Becatti, Giovanni; Castagnoli, Ferdinando; Golzio, Vincenzo (1969).
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The Great Works of Raphael Sanzio of Urbino; a Series of Thirty Photographs from the Best Engravings of His Most Celebrated Paintings, with Descriptions
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is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The
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wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".
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for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
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greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of
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Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.
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of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
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Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust
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is the incarnation of a realistic mother and child, representing human motherhood. Painted during his
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1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.
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Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561
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711:; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe;
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776:"The Virgin and Child with the Infant Baptist ['The Madonna della Seggiola']"
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The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for
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Most of Raphael's commissions for this period were under the strict guidance of
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her backside and compliments her richly colored ornamental dress with fringe.
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71 cm × 71 cm (28 in × 28 in)
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radically different when comparing it to an earlier Madonna portrait,
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Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola
764:. New York: Reynal and Co., William Morrow and Company. p. 637.
697:. Vol. 23. Boston, MA: American Unitarian Society. p. 133.
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The painting is oil on panel, with St John the Baptist painted in a
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526:. New York, New York: Praeger Publishers, Inc. pp. 108, 109.
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also included this painting along with many others in his 1770s
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form and influenced an equivalent singular male portrait,
490:. New York: Oxford University Press. pp. 216–217.
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for his Raphael Collection, which is conserved at the
333:'s proportions and relationship within the painting.
629:. London: Creative Media Partners, LLC. p. 41.
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child seems to be the basis of both the Madonna and
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99:(28" in diameter (71 cm)) is an oil on panel
1816:Portrait of Andrea Navagero and Agostino Beazzano
680:Masterpieces of the Great Artists, A.d. 1400-1700
541:. New York: Praeger Publishers, Inc. p. 109.
750:, RoyalCollection.org, retrieved 18 October 2014
625:Passavant, Johan David; Cundall, Joseph (2018).
565:. New York: Harry N. Abrams, Inc. p. 112.
2495:Paintings of the Madonna and Child by Raphael
829:
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397:on the table in front of the subject in his
2321:(1507–1520) (continued by other architects)
2109:The Expulsion of Heliodorus from the Temple
682:. London: G. Bell and Sons. pp. 26–27.
287:is the culmination of Raphael's use of the
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403:. The image was worked into the carpet in
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2033:Portrait of Pope Leo X with Two Cardinals
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2125:The Meeting of Leo the Great and Attila
1544:Portrait of Cardinal Alessandro Farnese
654:. Milano, Italy: Rizzoli. p. 111.
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358:painting, one being about a beautiful
294:The Portrait of Baldassare Castiglione
143:while sitting in a chair as the young
1309:Portrait of Guidobaldo da Montefeltro
1135:Portrait of Emilia Pia da Montefeltro
417:painting of the Tribuna of the Uffizi
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1793:Christ Falling on the Way to Calvary
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1442:Portrait of a Young Woman (La Muta)
1279:Madonna with Beardless Saint Joseph
678:Bell (N. D'Anvers), Arthur (1933).
2505:Paintings in the Galleria Palatina
1778:Portrait of Baldassare Castiglione
388:Henri IV playing with his children
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2093:Disputation of the Holy Sacrament
586:Willis, C. L. (13 October 2020).
406:Napoleon I on his Imperial Throne
2101:Cardinal and Theological Virtues
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2362:Antonio da Sangallo the Younger
1907:Saint Michael Vanquishing Satan
905:Madonna and Child with the Book
2435:Multi-Purpose Logistics Module
2221:Saint Paul Preaching in Athens
1120:Portrait of Elisabetta Gonzaga
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2510:Paintings of John the Baptist
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486:Olson, Roberta J. M. (2000).
121:1513–1514, and housed at the
2173:Miraculous Draught of Fishes
1884:Madonna with the Blue Diadem
1869:The Ecstasy of Saint Cecilia
762:The Complete Work of Raphael
723:. New York: Reynal and Co.,
721:The Complete Work of Raphael
455:List of paintings by Raphael
400:Portrait of monsieur Rivière
2404:(disciple and collaborator)
2205:Conversion of the Proconsul
2056:Self-Portrait with a Friend
1195:Saint George and the Dragon
793:Exhibited 1880 Copy of The
719:; Golzio, Vincenzo (1969).
337:Influences on Other Artists
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2360:(1518–1525) (completed by
2346:(1509–1575) (completed by
2248:Adoration of the Shepherds
2133:Deliverance of Saint Peter
1763:Portrait of Bindo Altoviti
1627:Portrait of Pope Julius II
1403:(1507–1508) (completed by
1385:Madonna of the Baldacchino
1324:Portrait of Maddalena Doni
981:The Marriage of the Virgin
725:William Morrow and Company
693:Colby, Fred Myron (1907).
230:Coronation of Charlemagne.
220:, including the paintings
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2344:Sant'Eligio degli Orefici
2325:Palazzo Jacopo da Brescia
1991:Portrait of a Young Woman
1680:Madonna of the Candelabra
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236:(Giovanni di Lorenzo de'
191:suggest the influence of
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2409:Raphael and La Fornarina
2181:Christ's Charge to Peter
1899:Holy Family of Francis I
1472:Niccolini-Cowper Madonna
1256:Young Woman with Unicorn
1105:Portrait of Pietro Bembo
394:Raphael and La Fornarina
2385:Giovanni Santi (father)
2189:Healing of the Lame Man
1740:Portrait of a Young Man
1294:Portrait of Agnolo Doni
1210:Young Man with an Apple
561:Beck, James H. (1994).
269:Grand Prince Ferdinando
2302:Raffaello da Montelupo
1710:Madonna dell'Impannata
1665:Madonna della Seggiola
1559:Portrait of a Cardinal
1241:Madonna del Cardellino
889:Resurrection of Christ
717:Castagnoli, Ferdinando
443:Royal Collection Trust
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377:Johann Michael Wittmer
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331:Saint John the Baptist
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147:devoutly watches. The
90:Madonna della Seggiola
22:Madonna della seggiola
2141:The Fire in the Borgo
1808:Creation of the World
1650:Madonna with the Fish
1412:Canigiani Holy Family
588:"An Art-Walk in Rome"
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265:Gallerie Degli Uffizi
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209:Madonna della Sedia's
197:Sebastiano del Piombo
2398:(mistress and model)
2392:(mistress and model)
2364:and other disciples)
2352:Bastiano da Sangallo
2296:–1524) (executed by
2277:(1520) (executed by
2151:–1517) (executed by
2085:The School of Athens
1347:Madonna of the Pinks
1180:Madonna del Granduca
1150:Small Cowper Madonna
1004:Portrait of Perugino
810:at Wikimedia Commons
808:Madonna of the Chair
537:Oppé, A. P. (1970).
522:Oppe, A. P. (1970).
488:The Florentine Tondo
195:and Raphael's rival
2466:Also attributed to
2213:Sacrifice at Lystra
2117:The Mass at Bolsena
2048:Madonna of the Rose
1725:Madonna della Tenda
1405:Ridolfo Ghirlandaio
1400:La belle jardinière
1362:Bridgewater Madonna
943:Conestabile Madonna
795:Madonna della Sedia
432:Nathaniel Hawthorne
356:Madonna della Sedia
351:Madonna della Sedia
285:Madonna della Sedia
207:Unfortunately, the
161:Madonna della Sedia
149:Madonna della Sedia
96:Madonna della Sedia
16:Painting by Raphael
2348:Baldassare Peruzzi
1612:Madonna of Foligno
1604:The Prophet Isaiah
1165:Terranuova Madonna
1019:Colonna Altarpiece
989:Diotallevi Madonna
973:Vision of a Knight
873:Baronci Altarpiece
746:2014-10-18 at the
695:Every Other Sunday
614:– via JSTOR.
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273:Napoleonic looting
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222:Incendio del Borgo
216:and loggia of the
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2164:Tapestry cartoons
2018:Madonna de Bogota
1972:Small Holy Family
1589:Madonna of Loreto
1457:Esterhazy Madonna
1271:Madonna del Prato
1082:Florentine period
958:Portrait of a Man
856:List of paintings
806:Media related to
713:Becatti, Giovanni
308:Leonardo da Vinci
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106:by the High
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58:Oil on panel
49:c. 1513–1514
2427:(1944 film)
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2013:(1516–1520)
1999: 1518
1980: 1518
1967:(1518–1519)
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997: 1504
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951: 1502
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928: 1500
913: 1503
900:(1502–1503)
892:(1499–1502)
884:(1501–1502)
876:(1500–1501)
865:Early works
598:: 281–283.
325:(c. 1510).
180:della Sedia
168:della Sedia
155:Description
132:It depicts
117:, executed
111:Renaissance
2489:Categories
2474:Attributed
2298:Lorenzetto
2279:Lorenzetto
2266:Sculptures
1854:Visitation
935:Oddi Altar
661:8874230532
466:References
316:Florentine
279:Techniques
234:Pope Leo X
203:Provenance
64:Dimensions
2442:Raffaello
2433:Raffaello
2312:Buildings
1839:La velata
652:Raffaello
430:In 1858,
2240:Lucretia
2232:Drawings
1138: (
1123: (
1007: (
744:Archived
612:20568763
449:See also
104:painting
80:Florence
72:Location
2417:Raphael
2378:Related
2243:(1500s)
1635:Galatea
845:Raphael
778:. 1793.
741:Zoffany
563:Raphael
539:Raphael
524:Raphael
218:Vatican
177:Madonna
165:Madonna
115:Raphael
113:artist
108:Italian
101:Madonna
93:or The
40:Raphael
2286:Elijah
2136:(1514)
2104:(1511)
2043:–1520)
2028:–1520)
1933:(with
1910:(1518)
1902:(1518)
1894:–1518)
1879:–1517)
1819:(1516)
1811:(1516)
1803:–1516)
1788:–1515)
1773:–1515)
1758:(1514)
1755:Sibyls
1750:–1514)
1735:–1514)
1720:–1514)
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383:Ingres
360:Urbino
238:Medici
228:, and
214:Stanze
193:Titian
138:Christ
54:Medium
36:Artist
2274:Jonah
608:JSTOR
289:tondo
249:Sedia
172:Roman
141:child
2350:and
2300:and
656:ISBN
631:ISBN
567:ISBN
492:ISBN
391:and
349:The
310:and
283:The
159:The
134:Mary
87:The
46:Year
2440:SS
1937:) (
600:doi
2491::
2335:c.
2291:c.
2253:c.
2146:c.
2038:c.
2023:c.
1996:c.
1977:c.
1954:c.
1939:c.
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1024:c.
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994:c.
963:c.
948:c.
925:c.
910:c.
733:^
715:;
670:^
606:.
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547:^
506:^
474:^
445:.
419:.
409:.
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224:,
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119:c.
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299:.
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