Cinque Terre, Itália (Cinque Terre) - Cândido Oliveira

                                                     
Cinque Terre, Itália (Cinque Terre) - Cândido Oliveira
Cinque Terre - Itália
Coleção privada
OST - 70x100

Estrada (Estrada) - José Ricardo

                                                           
Estrada (Estrada) - José Ricardo
Coleção privada
OST - 70x100 - 2011

Rio de Janeiro, Brasil (Rio de Janeiro) - Cândido Oliveira

Rio de Janeiro, Brasil (Rio de Janeiro) - Cândido Oliveira
Rio de Janeiro - RJ
Coleção Privada
OST - 70x100

Piazza del Colosseo, 1860, Roma, Itália

                                                   
Piazza del Colosseo, 1860, Roma, Itália
Roma - Itália
Fotografia

Piazza del Popolo, 1920, Roma, Itália

                                                   
Piazza del Popolo, 1920, Roma, Itália
Roma - Itália
Fotografia

Roma, 1875, Itália

                                                                       
Roma, 1875, Itália
Roma - Itália
Fotografia

Foro Itálico, Antigo Foro Mussolini, 1939, Roma, Itália

                                         
Foro Itálico, Antigo Foro Mussolini, 1939, Roma, Itália
Roma - Itália
Fotografia

Estrada (Estrada) - Osmar dos Santos Soares

                                                   
Estrada (Estrada) - Osmar dos Santos Soares
Coleção privada
OST - 70x90

Madona do Pintassilgo (Madonna del Cardellino) - Rafael Sanzio

Madona do Pintassilgo (Madonna del Cardellino) - Rafael Sanzio
Galleria degli Uffizi, Florença, Itália
Óleo sobre madeira - 107x77 - 1505-1506





A composição Madona do Pintassilgo é uma obra do pintor italiano Rafael Sanzio (1483-1520), um dos pintores mais importantes da Alta Renascença italiana, período em que houve uma grande concentração de gênios na arte, e em que o homem era visto como a medida de todas as coisas. Ele era filho do pintor Giovanni Sanzio, de quem recebeu as primeiras aulas sobre pintura. Suas obras são admiradas, sobretudo, pela humildade e graça que apresentam. O artista é conhecido como “O Pintor das Madonas” por ter pintado inúmeros quadros com a Virgem e seu Menino.
Esta obra foi executada para Vincenzo Nasi, um rico comerciante, mas em 1547, quando a casa de Vincenzo sofreu um desmoronamento, o quadro caiu, partindo em 17 fragmentos, encontrados sob os escombros. O artista Michele di Rodolfo del Ghirlandajo foi o responsável por sua restauração, para o bem de nossos olhos.
Esta é uma das suas mais belas madonas, em que se entrelaçam harmonia, serenidade, suavidade e espiritualidade. Na tela estão a Virgem Maria com seu Menino Jesus e o pequeno João Batista. O grupo forma um bloco piramidal, estrutura inspirada nas obras de Leonardo da Vinci, assim como o uso do claro-escuro. As figuras estão ligadas por olhares e gestos. Michelangelo influenciou na monumentalidade das figuras, postadas no centro da composição.
A Virgem, muito serena, encontra-se sentada numa rocha, em meio a uma ampla paisagem. Seu corpo está voltado para o observador, com um pequeno giro das pernas e do tronco para sua esquerda, mas com a cabeça voltada para sua direita. Ela usa um vestido vermelho (cor referente à Paixão de Cristo), amarrado na cintura, e coberto por um manto azul (cor referente à Igreja). Na mão esquerda traz um livro aberto de orações, e com a direita segura João Batista, para o qual volta o seu meigo olhar. Seus cabelos dourados estão trançados e jogados para trás. Uma auréola, símbolo de sua divindade, paira sobre sua cabeça. Ela se encontra descalça.
O Menino Jesus, nu, posiciona-se entre os joelhos da Virgem, neles escorando seu corpinho. Seu braço esquerdo está junto ao seu corpo, enquanto o direito está levantado em direção a João Batista, acariciando a pequena ave que segura com as duas mãozinhas. Seu corpo também se encontra de frente para o observador, mas sua cabeça está voltada para a direita, com os olhos fixos em seu primo. Seus cabelos corridos estão penteados para trás. Seu pezinho direito encontra-se em cima do pé direito de Maria. Uma faixa transparente cinge-lhe a cintura, em torno dos quadris. Seu corpo rechonchudo apresenta muitas dobrinhas.
O pequeno João Batista aparenta ser mais velho do que Jesus. Parte de seu corpo, que se encontra de perfil, está coberto por um pequeno couro, que desce de seu ombro direito para frente e costas. Sua cabeça, com pequenos cachos dourados, está voltada para Jesus, assim como toda a sua atenção. Ele traz nas mãos um pintassilgo, cuja cabeça está voltada para o Menino. Uma frigideira está atrelada a sua vestimenta.
Duas pequenas moitas de flores aparecem próximas aos pés das duas crianças. Ao fundo descortina-se uma paisagem montanhosa com um rio, cercado por árvores e cheio de pedras. Uma ponte corta-o. Mais ao longe se divisa uma cidade.
The Madonna del cardellino or Madonna of the Goldfinch is a painting by the Italian Renaissance artist Raphael, from c. 1505–1506. A 10-year restoration process was completed in 2008, after which the painting was returned to its home at the Uffizi in Florence. During the restoration, an antique copy replaced the painting in the gallery.
Raphael is considered to be a “master” of the High Renaissance, a title he shares with Michelangelo and Leonardo da Vinci. He was born in 1483 and died in 1520, living a mere thirty-seven years. Despite his relatively short lifespan, he was highly influential throughout his time on earth. He produced a vast quantity of work in a variety of media. He was active in architecture, printmaking, painting, and drawing. During the first half of his career, he spent years traveling across Northern Italy and was influenced by the Florentine styles he saw there, causing this stage to be called his Florentine Period. After which, in 1508, he moved to Rome where he continued to work. Many of his commissions came from the Vatican, including the Apostolic Palace, which brought about one of his most famous works, School of Athens. Due to his relationship with the church, he and Michelangelo were fierce rivals throughout both of their careers, and often competed for the same commissions. During his Florentine period, this work, The Madonna Del Cardellino, was painted along with several other well-known Madonnas: The Madonna of the Meadow and La Belle Jardinière. All three share several characteristics: Madonna is clothed in red and blue, the same three subjects are painted, the pyramidal composition, the natural background, and the connection to the church through the representation of books, crosses, or, indeed, the goldfinch.
In this painting, as in most of the Madonnas of his Florentine period, Raphael arranged the three figures - Mary, Christ and the young John the Baptist - to fit into a geometrical design. Though the positions of the three bodies are natural, together they form an almost regular triangle. The Madonna is shown young and beautiful, as with Raphael’s various other Madonnas. She is also clothed in red and blue, also typical, for red signifies the passion of Christ and blue was used to signify the church. Christ and John are still very young, only babies. John holds a goldfinch in his hand, and Christ is reaching out to touch it. The background is one typical of Raphael. The natural setting is diverse and yet all calmly frames the central subject taking place.
The Madonna was a wedding gift from Raphael to his friend Lorenzo Nasi. On November 17, 1548 Nasi's house was destroyed by an earthquake and the painting broke into seventeen pieces. It was immediately taken to be salvaged, and was hastily put back together, though the seams were quite visible. In 2002, George Bonsanti of the Precious Stones organization gave the task of restoration to Patrizia Riitano. During the six-year process that followed, her team worked to remove the years of grime that had degraded the painting's color, and to fix the damage done by the earthquake long ago. Before beginning the project, they studied the work as closely as possible, utilizing resources such as X-rays, CAT scans, reflective infra-red photography, and even lasers. Riitano closely studied the past quick fix layers that had been applied and removed them until the original by Raphael finally shone through. The restoration was completed in 2008, and the painting was put on display in Uffizi.
In Madonna Del Cardellino, the goldfinch represents Christ’s crucifixion. The reason for its association comes from the legend that its red spot was born at the time of the crucifixion. It flew down over the head of Christ and was taking a thorn from His crown, when it was splashed with the drop of His blood. The book in Mary’s hand reads Sedes Sapientiae or The Throne of Wisdom. This term usually is applied to images in which Mary is seated upon a throne, with Jesus on her lap, but in this case, the inscription implies the rock on which Mary sits is her natural throne.

Madona do Grão Duque (Madonna del Granduca) - Rafael Sanzio

                             
Madona do Grão Duque (Madonna del Granduca) - Rafael Sanzio
Palazzo Pitti, Florença, Itália
Óleo sobre madeira - 84x55 - 1505-1507


The Madonna del Granduca is a Madonna painting by the Italian renaissance artist Raphael. It was probably painted in 1505, shortly after Raphael had arrived in Florence. The influence of Leonardo da Vinci, whose works he got to know there, can be seen in the use of sfumato. The painting belonged to Ferdinand III, Grand Duke of Tuscany, from whom it got its name.
The Madonna del Granduca is one of Raphael’s most famous works and one of the images identified with the Palatine Gallery, the museum with the world’s highest number of canvases and panels by the artist. It is one of Raphael’s best-loved works, in which he shows all of his skill in representing holy subjects in an immediate, human manner. On this panel, the Virgin Mary is depicted standing, with the Child in her arms. Her melancholy gaze is directed downwards as she holds her child out towards the onlooker, inviting him or her to contemplate his sweet, serious face. The gestures of the two subjects are measured; in spite of its simplicity, the whole composition conveys the deep affection that binds them, as well as a painful awareness of Christ’s future sacrifice.This picture was painted by Raphael in 1506-7, during his stay in Florence (1504-1508), when Michelangelo, Leonardo and Fra Bartolomeo were producing their own masterpieces in the city. Raphael, who trained under Perugino, matured in this period and on several occasions, he used the Madonna and Child as a subject, together with the young St John or St Joseph, painting in a more monumental, volumetric style, obtained using Leonardo’s subtle, blended chiaroscuro, and stimulating his attention for expressions of affection towards a greater emotional intensity. To complete this small yet precious painting, Raphael was able to draw on a wealth of Florentine iconography: the countless Madonnas and Child in terracotta, stucco, wood, marble and even bronze, which the masters of the 15th century, such as Donatello, Ghiberti and Luca della Robbia had produced in large numbers to meet the needs of devotional images to place in the churches, chapels, street tabernacles and rooms inside the palaces of wealthy customers.The composition did not start out with a dark background: x-ray images taken by the Opificio delle Pietre Dura have revealed that under the black surrounding the figures, there was an interior with a pillar supporting arches and a glimpse of countryside to the right, as can be seen in the Madonna of the Pinks or the Madonna with Beardless St Joseph in the Hermitage (St Petersburg): a setting that accentuated the domestic tone of the painting. It is plausible that after completion, to bring the work into line with changing tastes, the painting’s background was eliminated to leave the central group in the magnificent isolation we see today.
This famous painting, whose origins and customer are unknown, takes its name from Ferdinand III, Grand Duke of Tuscany (1769-1824) who authorised its purchase between autumn 1799 and winter 1800, when it came to Pitti. It never moved from here, except during the period of Napoleonic rule, when Ferdinand took it with him in exile. The Grand Duke’s family was particularly fond of the painting and on the court’s return to Florence, it was displayed in the private rooms of Pitti Palace, and the Grand Duke only allowed it to be shown in public when he was absent from Florence. In 1882 the painting took its place where we see it today, in the Saturn Room.