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human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the
344:, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.
42:
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668:." Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the
299:
495:, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).
701:
270:, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.
334:), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in
273:
The painting is still in its original frame, one that
Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads
544:, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the
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are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The
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There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the
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view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take
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states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to
672:. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.
691:(two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.
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argues that the image reflects
Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best
907:
Bellucci, Roberto; Buzzegoli, Ezio, Michelangelo's 'Doni Tondo' investigated with non-invasive analytical techniques, in
Studying Old Master Paintings – Technology and Practice. The National Gallery Technical Bulletin 30th Anniversary Conference, 2009, pp.
634:, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.
407:. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the
630:. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of
683:. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy". The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's
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is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?).
600:, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.
258:. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.
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families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.
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588:
1307:
E. Buzzegoli, R. Bellucci, Michelangelo’s Doni Tondo investigated with non-invasive analytical techniques, in
Studying old master paintings, Technology and Practice, ed. by M. Spring, London 2011
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There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.
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has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and
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592:. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the
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Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the
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in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.
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background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the
Baptist is a semi-circular ridge, against which the Sistine
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in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.
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by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a
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The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for
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Olson, Roberta J. M. (1993). "Lost and
Partially Found: The Tondo, a Significant Florentine Art Form, in Documents of the Renaissance".
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Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on
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446:. Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's
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is believed to be the only existing panel picture
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was probably commissioned by Agnolo Doni to commemorate his marriage to
Maddalena Strozzi, the daughter of a
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as the format for the picture, Michelangelo is referencing the form's long association with depicting the "
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form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.
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is positioned higher in the image than Mary, although this is an unusual feature in compositions of the
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Additionally, some scholars suggest that
Michelangelo was inspired by the famous Greco-Roman group of
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The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the
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Buzzegoli, Ezio (December 1987). "Michelangelo as a
Colourist, Revealed in the Conservation of the
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Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times
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marble. The nude figures in the background have softer modelling and look to be precursors to the
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to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished,
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in Florence, is using the picture to defend the Maculist point of view, a philosophy of the
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The nude figures in the tondo background are said to have been influenced by the statue of
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for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra
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far background contains a mountainous landscape rendered in atmospheric perspective.
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Olsen, Roberta J.M. (2000). "Painted Devotional Tondi: Michelangleo Buonarotti's
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is a "devotional image more than an example of style, symbolism,
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Michelangelo Buonarroti, Doni Tondo, illustrated pigment analysis
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Lives of the Most Excellent Painters, Sculptors, and Architects
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Three aspects of the painting can be attributed to an antique
582:". Barolsky bases much of his thesis on the language used by
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The plant in front of John the Baptist has aspects of both
203:'round', a shape which is frequently associated during the
306:. His work on the image foreshadows his technique in the
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Evidence of Michelangelo's painting style is seen in the
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while hyssop symbolizes both the humility of Christ and
1208:. New York: Oxford University Press. pp. 219–226.
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1225:. 38 Bd., H. 1 (1). Taylor & Francis: 84–85.
1151:History of Italian Renaissance Art: Fifth Edition
393:. This is the completed version, painted in 1510.
2126:Study of a Kneeling Nude Girl for The Entombment
482:. The Virgin's right arm mirrors the arm of the
1153:. New Jersey: Prentice-Hall. pp. 506–508.
687:– being one of the three sets of doors of the
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536:tree in the background, which represents the
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1286:Michelangelo. Inside and outside the Uffizi
1149:Hartt, Frederick; David G. Wilkins (2003).
2267:Restoration of the Sistine Chapel frescoes
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1908:The Creation of the Sun, Moon, and Plants
2353:Paintings by Michelangelo in the Uffizi
1108:by Michelangelo: An Iconographic Study"
1056:Barolsky, Paul (2003). "Michelangelo's
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347:Michelangelo used a limited palette of
185:, and still in its original frame, the
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1288:, Florence: Maschietto Editore, 2014.
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1690:Giuliano de' Medici, Duke of Nemours
1215:"A Medici Source for Michelangelo's
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2338:Religious paintings by Michelangelo
474:, available to Michelangelo in the
193:. The painting is in the form of a
1118:(1). Taylor & Francis: 43–50.
404:The Virgin and Child with St. Anne
390:The Virgin and Child with St. Anne
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1901:Separation of Light from Darkness
1043:Painted Devotional Tondi, 224–225
214:frescoes were begun in 1508. The
2273:The Titan: Story of Michelangelo
1162:: Holy Family and Family Myth".
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234:) in the foreground, along with
130:Battle of Cascina (Michelangelo)
1223:Zeitschrift fĂĽr Kunstgeschichte
1158:Hayum, Andrée. "Michelangelo's
1102:d’Ancona, Mirella Levi (1968).
1979:The Crucifixion of Saint Peter
1060:and the Worshipful Beholder".
1:
2348:Paintings of John the Baptist
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1034:Painted Devotional Tondi, 221
1022:Painted Devotional Tondi, 226
941:Painted Devotional Tondi, 219
847:Painted Devotional Tondi, 220
713:List of works by Michelangelo
359:and a few others. He avoided
120:The Entombment (Michelangelo)
62:
2343:Paintings of the Holy Family
2140:Studies for the Libyan Sibyl
2108:Works on paper, milieu, etc.
1822:The Torment of Saint Anthony
2246:Michelangelo and the Medici
2076:San Giovanni dei Fiorentini
1062:Notes in the History of Art
548:and the Passion of Christ.
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2229:Art patronage of Julius II
2154:PietĂ for Vittoria Colonna
617:rejecting the idea of the
2281:The Agony and the Ecstasy
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2003:
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1680:Christ Carrying the Cross
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1299:Michelangelo Buonarroti,
1074:10.1086/sou.22.3.23206720
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35:Doni Tondo (Doni Madonna)
2147:The Punishment of Tityus
1284:Natali, Antonio (2014),
434:is also associated with
332:National Gallery, London
75:Oil and tempera on panel
27:Painting by Michelangelo
2304:Michelangelo quadrangle
2034:Basilica of San Lorenzo
351:comprising Lead White,
173:in London.) Now in the
2055:Piazza del Campidoglio
1986:The Conversion of Saul
1862:Salone dei Cinquecento
1534:Piccolomini Altarpiece
1414:Battle of the Centaurs
1213:Smith, Graham (1975).
1164:Studies in Iconography
880:Hartt and Wilkins, 507
817:Hartt and Wilkins, 506
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260:Saint John the Baptist
212:Sistine Chapel ceiling
191:powerful Tuscan family
83:120 cm diameter (
2299:Michelangelo (crater)
2203:Sebastiano del Piombo
2183:Tommaso dei Cavalieri
2133:Male Back with a Flag
1648:The Genius of Victory
1407:Madonna of the Stairs
708:at Wikimedia Commons
653:Adoration of the Magi
619:Immaculate Conception
602:Mirella Levi D'Ancona
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363:and used very little
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207:with domestic ideas.
149:is the only finished
2065:St. Peter's Basilica
1915:The Creation of Adam
1439:Arca di San Domenico
1206:The Florentine Tondo
1173:Artibus et Historiae
689:Florentine Baptistry
492:Laocoön and His Sons
423:Laocoön and His Sons
2178:Cecchino dei Bracci
1672:Florence, 1516–1534
1512:Florence, 1501–1505
670:Drunkenness of Noah
611:Girolamo Savonarola
560:Visitors observing
470:from the circle of
466:and a 15th-century
2292:A Season of Giants
2275:(1950 documentary)
2050:Capitoline Museums
2030:Laurentian Library
1829:Manchester Madonna
1579:Rothschild Bronzes
1431:Bologna, 1494–1495
685:Porta del Paradiso
566:
552:Scholarly theories
505:Porta del Paradiso
428:
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321:Manchester Madonna
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169:, are both in the
166:Manchester Madonna
163:and the so-called
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1850:Leda and the Swan
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1589:Tomb of Julius II
1532:Additions to the
1527:Madonna of Bruges
1437:Additions to the
1294:978-88-6394-085-5
1240:978-0-8153-1823-1
1133:978-0-8153-1823-1
704:Media related to
665:Madonna and Child
596:word for "gift",
564:in Uffizi Gallery
450:similarly uses a
399:Leonardo da Vinci
385:Leonardo da Vinci
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16:(Redirected from
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2188:Vittoria Colonna
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171:National Gallery
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1781:Rondanini PietĂ
1751:Rome, 1534–1564
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1399:Head of a Faun
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681:House of David
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308:Sistine Chapel
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160:The Entombment
153:by the mature
151:panel painting
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1354:List of works
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1179:(27): 31–65.
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673:
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629:
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621:of Mary. The
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572:Paul Barolsky
569:
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532:. There is a
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2283:(1961 novel,
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2251:Replicas of
2238:
2159:
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2131:
2124:
2026:New Sacristy
2009:Architecture
1984:
1977:
1957:
1948:
1943:Prophet Joel
1941:
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1566:Taddei Tondo
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1546:
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1539:Saints Peter
1538:
1525:
1518:
1500:
1492:
1485:
1477:
1457:
1450:
1443:
1419:
1412:
1405:
1397:
1359:âś» attributed
1352:
1342:Michelangelo
1300:
1285:
1264:(1): 60–63.
1261:
1257:
1222:
1216:
1205:
1201:
1176:
1172:
1163:
1159:
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1106:Doni Madonna
1105:
1094:
1090:
1065:
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1057:
1050:Bibliography
1039:
1018:
1009:
1000:
991:
986:d'Ancona, 47
982:
973:
968:Barolsky, 11
964:
955:
950:d'Ancona, 46
946:
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871:d'Ancona, 48
797:d'Ancona, 45
783:d'Ancona, 44
771:d'Ancona, 43
737:
726:
698:
684:
674:
669:
663:
659:the Nativity
657:
651:
647:
641:
638:Andrée Hayum
636:
597:
587:
586:in his work
575:
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561:
515:
503:
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480:Christ Child
458:
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326:
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284:
281:
272:
264:patron saint
245:
215:
209:
194:
186:
164:
159:
155:Michelangelo
146:Doni Madonna
145:
144:
139:
138:
136:
53:Michelangelo
29:
1634:Atlas Slave
1620:Young Slave
1613:Dying Slave
1591:, 1505–1545
1559:Pitti Tondo
1304:, ColourLex
1258:Art Journal
1068:(3): 8–11.
977:Barolsky, 8
607:intercessor
580:iconography
256:Holy Family
242:Description
224:child Jesus
220:Holy Family
205:Renaissance
66: 1507
2327:Categories
2286:1965 film)
1843:Doni Tondo
1385:Florence,
1375:Sculptures
1301:Doni Tondo
1217:Doni Tondo
1202:Doni Tondo
1160:Doni Tondo
1097:: 405–408.
1091:Doni Tondo
1058:Doni Tondo
1013:Hayum, 216
995:Hayum, 218
898:Grove, 442
831:Hayum, 214
755:Hayum, 210
741:Hayum, 211
719:References
706:Tondo Doni
576:Doni Tondo
562:Doni Tondo
522:cornflower
438:'s Medici
432:Doni Tondo
381:Doni Tondo
371:Influences
327:Entombment
316:Doni Tondo
304:Doni Tondo
216:Doni Tondo
187:Doni Tondo
140:Doni Tondo
80:Dimensions
18:Tondo Doni
2081:Porta Pia
1804:Paintings
1082:192987028
932:Smith, 84
859:Smith, 85
472:Donatello
365:vermilion
357:Verdigris
294:Technique
97: in)
2358:Nude art
2161:Epifania
2019:Florence
1421:Crucifix
695:See also
623:Maculist
500:Ghiberti
461:sardonyx
349:pigments
268:Florence
179:Florence
110:Florence
102:Location
2222:Related
2032:in the
1895:Ceiling
1551:Gregory
1487:Bacchus
1249:1481909
1193:1483444
1142:3048510
662:, the
594:Italian
546:Trinity
530:baptism
448:Madonna
442:in the
440:Madonna
353:Azurite
276:Strozzi
201:Italian
92:⁄
2171:Milieu
1759:Brutus
1734:Apollo
1655:Rachel
1292:
1278:777088
1276:
1247:
1237:
1191:
1140:
1130:
1095:Apollo
1080:
598:donare
534:citron
526:Heaven
518:hyssop
468:relief
444:Uffizi
361:ochres
341:ignudi
336:medium
330:(both
286:ignudi
262:, the
252:Joseph
232:Joseph
230:, and
175:Uffizi
106:Uffizi
49:Artist
2261:PietĂ
2253:David
1697:Night
1599:Moses
1520:David
1502:PietĂ
1459:Angel
1362:†lost
1274:JSTOR
1245:JSTOR
1189:JSTOR
1138:JSTOR
1104:"The
1078:S2CID
908:52–58
648:tondo
643:tondo
628:Bible
484:satyr
464:cameo
453:tondo
410:David
222:(the
196:tondo
183:Italy
2043:Rome
2028:and
1718:Dawn
1711:Dusk
1662:Leah
1549:and
1547:Pius
1543:Paul
1290:ISBN
1235:ISBN
1128:ISBN
731:page
520:and
430:The
379:The
324:and
314:The
247:Mary
228:Mary
137:The
72:Type
59:Year
1704:Day
1266:doi
1227:doi
1204:".
1181:doi
1120:doi
1093:".
1070:doi
502:'s
401:'s
387:'s
266:of
177:in
143:or
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1541:,
1387:c.
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1187:.
1177:14
1175:.
1136:.
1126:.
1116:50
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1110:.
1076:.
1066:22
1064:.
1027:^
925:^
864:^
852:^
836:^
822:^
802:^
788:^
776:^
760:^
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656:,
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355:,
226:,
181:,
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1853:â€
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1195:.
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1084:.
1072::
413:.
310:.
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