La Petite Madone Cowper

Piccola Madonna Cowper
Artiste
Raphaël (Sous le vrai nom Raffaello Sanzio)
Date
Vers 1505
Type
huile sur bois
Dimensions (H × L)
58 × 43 cm
Mouvement
No d’inventaire
1942.9.57Voir et modifier les données sur Wikidata
Localisation

La Piccola Madonna Cowper (en français : Petite Madone Cowper) afin de la différencier de la Grande Madonna Cowper (en français : « Grande Madone Cowper ») est une peinture religieuse de Raphaël. Le tableau est actuellement exposé à la National Gallery of Art de Washington.

Histoire

Le tableau a été réalisé aux alentours de l'année 1505 au cours de la période florentine du peintre. Le nom du tableau provient du fait que celui-ci a appartenu pendant une longue période à lord Cowper et que sa taille est inférieure à un autre tableau similaire de Raphaël acheté en même temps par le lord et ayant eu un parcours historique similaire.

L'œuvre a été achetée par Lord George Nassau Clavering-Cowper, comte de Cowper, autour de l'an 1780, avec une autre Madonna (Grande) auprès d'une collection privée à Urbino ou Florence.

Conservée d'abord au château de Panshanger, dans le Hertford, la peinture a été vendue de nombreuses années plus tard (1913) au marchand d'art Duveen, puis achetée par Widener Joseph, dont les collections ont été données au Musée des États-Unis en 1942.

Composition et style

Le tableau représente la Vierge et l'Enfant. Le buste de Marie est tourné vers la droite, tandis qu'elle soutient le corps de Jésus debout chancelant sur ses pieds.

L'iconographie est habituellement rapprochée de celle de la Madonna del Granduca, avec une interaction des gestes entre l'enfant et sa mère.

La Vierge, le teint clair avec des cheveux blonds et vêtue d'une robe rouge est assise au centre de l'œuvre confortablement sur un banc de bois. Une draperie bleue est posée sur ses genoux, un élégant ruban transparent parcourt le haut de sa robe et derrière ses épaules ; une auréole entoure sa tête dorée.

De sa main gauche, elle tient l'Enfant qui avec un timide sourire appuyé sur l'épaule de Marie, entoure affectueusement de ses bras le cou de sa mère.

Le regard de la Vierge et de son Enfant fait face au spectateur et leurs visages sont analogues avec tous les deux une chevelure blonde et douce, voire dorée.

La luminosité mesurée de l'action et la dilatation des plans rappellent l'influence de Léonard de Vinci.

D'inspiration léonardesque est aussi l'arrière-plan constitué par un paysage de collines parsemé de quelques arbres, avec un étang qui reflète le ciel et une église sur la droite. Dans le lointain, un brouillard rend tout clair avec des tons azur.

Récemment, lors d'une exposition à Urbino, les études de réflectographie infrarouge ont montré la présence d'un mur derrière la Vierge Marie[1].

Attribution

L'attribution à Raphaël est unanime. Le tableau est l'une des œuvres qui ouvrent la série des Madones de l'artiste lors de son séjour florentin, influencé par Léonard de Vinci.

Notes et références

Voir aussi

Bibliographie

  • Pierluigi De Vecchi, Raffaello, Rizzoli, Milan, 1975.
  • Paolo Franzese, Raffaello, Mondadori Arte, Milan, 2008 (ISBN 978-88-370-6437-2)

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