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  Home>Plan Your Visit>Tours, Guides, and Maps>Self-Guided Tours>Audio Stop 214
      

      
      Search Audio Stop 214 Select LanguageEnglishChineseKoreanSpanishJapanese
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 A woman and two children, all with pale skin and flushed cheeks, sit together in a landscape in this round painting. The woman takes up most of the composition as she sits with her right leg, to our left, tucked under her body. Her other leg, on our right, is bent so the foot rests on the ground, and that knee angles up and out to the side. She wears a rose-pink dress under a topaz-blue robe, and a finger between the pages of a closed book holds her place. Her brown hair is twisted away from her face. She has delicate features and her pink lips are closed. She looks and leans to our left around a nude young boy who half-sits and half-stands against her bent leg. The boy has blond hair and pudgy, toddler-like cheeks and body. The boy reaches his right hand, on our left, to grasp the tall, thin cross held by the second young boy, who sits on the ground next to the pair. This second boy has darker brown hair and wears a garment resembling animal fur. The boy kneels facing the woman and looks up at her and the blond boy. The trio sits on a flat, grassy area in front of a body of water painted light turquoise. Mountains in the deep distance are pale azure blue beneath a nearly clear blue sky.
 Raphael *The Alba Madonna*, c. 1510 La curadora de pintura italiana y francesa Gretchen Hirschauer examina la humilde representación de personajes bíblicos en esta monumental pintura de Rafael.
 Transcripción de audioNARRADOR: 
En una escena delicada y pacífica que Rafael pintó alrededor de 1510, vemos a figuras importantes de la cristiandad: María sentada con su bebé, Jesús, en su regazo. Cerca de Jesús está su primo, San Juan el Bautista, identificado por su vestimenta de piel de animal.  
GRETCHEN HIRSCHAUER: 
Tienen esta expresión muy seria e intensa en sus rostros, parecen saber lo que ocurrirá en el futuro.  Cristo acepta la cruz de junco que le ofrece San Juan, lo que es una indicación de que acepta su futura crucifixión.  
Soy Gretchen Hirschauery soy curadora del Departamento de Pintura Italiana y Española.
NARRADOR: 
El formato circular del cuadro se inspira en las bandejas redondas decorativas que se obsequiaban a las mujeres florentinas después de dar a luz. En ese formato, Rafael con habilidad lleva nuestros ojos a recorrer la escena.
GRETCHEN HIRSCHAUER: 
Lo principal en el cuadro son los ángulos.  Digamos que uno comienza a mirar la sandalia de ella y luego sube la mirada hasta su codo en el tronco del árbol. Después la vista se dirige hacia la cabeza de la Virgen, y desciende de nuevo, la Virgen mira directamente a Juan el Bautista, quien a su vez mira directamente al niño Jesús. El pintor encontró una forma de conectar estas figuras, no solo en lo físico sino también en lo emocional. Todos están conectados entre sí dentro de este formato tan particular.
Para mí, uno de los puntos más interesantes es que se la considera la “madona de la humildad”. La gente no advierte que hay diferentes tipos de madonas, no son todas iguales. Ella no está aquí como la reina de los cielos, sino como una humilde mujer sentada en el suelo. Visita guiada del Edificio Oeste: Selección destacada
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