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This superb exhibition immerses its visitors in the heart of the era of artistic geniuses of the 16th century in Italy.
In these high times of the Italian Renaissance, in the feverish atmosphere of Republi- can Florence around 1504, the rivalry between Michelangelo and Leonardo da Vinci as well as the influence that these two great masters exert on the young Raphael is at its height to attract the greatest and most influential patrons.
On January 25, 1504, the most prominent Florentine artists met to discuss the appro- priate location for Michelangelo’s David, almost completed.
Having just returned to his hometown, Leonardo da Vinci is of course part of this grand jury.
The exhibition presents more than 40 works and opens with Michelangelo’s only marble sculpture in the United Kingdom, the Taddei Tondo, with the preparatory drawings associated with it.
This marvel of grace, all in curves and delicacy in its modeling, represents the Madonna welcoming her Son in her arms fleeing the goldfinch, symbol of his future «Passion» that the Child Saint John holds out to her.
This relief will mark Raphael for life, as evidenced in particular by the Bridgewater Madonna, circa 1507-1508 (loan from the Bridgewater collection, National Galleries of Scotland). The child Jesus in the same fleeing position seeks help in the gaze of his mother who gently rests her half-closed eyes on him.
Arranged nearby, the unfinished tempera oil painting on wood of the Esterházy Ma- donna, circa 1508 (Museum of Fine Arts, Budapest) is inspired by the work of Leo- nardo da Vinci, The Virgin, the Child Jesus and Saint Anne in a fluid composition marked by calm and spontaneous familiarity. Raphael haloes Saint John and the future Christ with the famous sfumato dear to Leonardo and the Virgin is of great tenderness.
Leonardo da Vinci,
The Virgin and Child with St Anne and the Infant St John the Baptist
(‘The Burlington House Cartoon’), c.1506-08. C
harcoal with white chalk on paper, mounted on canvas, 141.5 x 104.6 cm.
The National Gallery, London. Purchased with a special grant and contributions from the Art Fund, The Pilgrim Trust, and through a public appeal organised by the Art Fund, 1962.