Raphael, La belle jardinière

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Raphael, La belle jardinière발음듣기

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[DR. BETH HARRIS] We're in the Louvre, and we're looking at a painting by Raphael called La Belle Jardinière.발음듣기

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And it's a lovely Raphael Madonna and Child with the infant Saint John the Baptist in that pyramid composition that we so often associate with the High Renaissance.발음듣기

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[DR. STEVEN ZUCKER] What's interesting is that the Virgin Mary is not in a religious environment.발음듣기

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We see no archways, and she's got no throne.발음듣기

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If we're to argue that she had a throne at all, it would be the throne of nature.발음듣기

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She sits on a rock in a field with a beautiful atmospheric perspective behind her creating this lovely, verdant environment.발음듣기

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[DR. BETH HARRIS] As we look down at the foreground, we seen plants, perhaps the edge of a pond, and little flowers.발음듣기

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The loveliest passages to me are the way that Christ, on the left, stands on his mother's foot, really showing that kind of dependence on his mother and yet also a growing sense of independence as he seeks to take the book out of her hands and looks up at her.발음듣기

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And of course the content of that book foretells his own demise.발음듣기

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It foretells the crucifixion.발음듣기

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[DR. STEVEN ZUCKER] And the look on Mary's face is one that suggests that she knows this.발음듣기

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She's looking at him to, in a sense, gauge whether or not he's ready for that knowledge.발음듣기

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[DR. BETH HARRIS] She puts her right arm around him, protecting him, and seems to hesitate for a moment with her left hand whether to allow him to take that book or not.발음듣기

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Saint John the Baptist, who kneels in prayer toward Christ, is in a very graceful pose as he kneels down on his right knee, tilts his neck up, and looks up at Christ.발음듣기

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We have that High Renaissance gracefulness and ideal beauty.발음듣기

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[DR. STEVEN ZUCKER] Let's look for just a moment at the gazes within the painting.발음듣기

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I think you're right to start with John the Baptist and his eyes gazing up at Christ, who in turn's body and face moves up to Mary.발음듣기

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And Mary then returns that gaze, in a sense our gaze, back down to Christ.발음듣기

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[DR. BETH HARRIS] So everyone's gaze is really focused on Christ.발음듣기

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[DR. STEVEN ZUCKER] Yep, and we're in the middle of that triangle as we watch them look at each other.발음듣기

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[DR. BETH HARRIS] And Mary's ideally beautiful.발음듣기

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And we have only the faintest outline of a halo.발음듣기

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That halo is disappearing as we enter the High Renaissance, because the figures exude a kind of divinity by their ideal beauty.발음듣기

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We don't need that symbol of a halo anymore.발음듣기

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[DR. STEVEN ZUCKER] And for Raphael, its nature that takes on that role.발음듣기

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No longer are those stage props of divinity necessary, as you said.발음듣기

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But it's the landscape itself.발음듣기

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It's God's world that he's created that is an expression of divinity.발음듣기

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And it's beauty itself that is the expression of divinity here, Mary's beauty, Christ's beauty, and even John's beauty.발음듣기

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