After Raphael, 19th century.

After RAFAEL SANZIO (Urbino, 1483 – Rome, 1520); 19th century.
“Madonna of the Grand Duke.”
Oil on canvas.
It has some touch-ups and a few imperfections in the frame.
With a wax seal.
Measurements: 85 x 57 cm; 118 x 91 cm (frame).

This painting is a reproduction of one of Raphael Sanzio’s most famous Marian compositions, known as the Madonna of the Grand Duke, housed in the Palatine Gallery of the Pitti Palace in Florence (inventory 1912, no. 178). This is a nineteenth-century version of one of the most representative models of the ideal of beauty and spirituality that characterized the painting of the master from Urbino. The composition shows the Virgin Mary standing, holding the Infant Jesus in her arms. Her figure, serene and monumental in demeanor, leans slightly toward the child, whom she delicately presents to the viewer. Mary’s gaze, directed downward, conveys profound tenderness, though also a certain melancholy that introduces a dimension of contemplation and foreboding. The Child, for his part, turns his face outward, establishing a visual connection with the viewer. The simplicity of the gestures and the intimacy of the contact between mother and son encapsulate the scene’s full expressive power.
Rafael Sanzio created the original composition around 1506–1507, during his stay in Florence (1504–1508), a pivotal period in the evolution of his artistic style. During those years, the painter came into contact with the innovations of Leonardo da Vinci, Michelangelo, and Fra Bartolomeo, assimilating their contributions to the depiction of the human figure, composition, and the effects of light. The original painting takes its name from Ferdinand III of Lorraine, Grand Duke of Tuscany (1769–1824), who authorized its acquisition between the fall of 1799 and the winter of 1800. From the moment it arrived at the Pitti Palace, the work aroused particular admiration among the grand ducal family, who counted it among their most cherished works of art. During the Napoleonic period, Ferdinand III took it with him into exile, later returning to Florence. For years it remained in the palace’s private quarters, and it was not until 1882 that it took its current place in the Hall of Saturn in the Palatine Gallery.
The history of this original painting played a decisive role in cementing its prestige and making it one of Raphael’s most recognizable works. Its popularity was such that reproductions, copies, and variations proliferated, especially during the 18th and 19th centuries, when appreciation for the great masters of the Italian Renaissance reached extraordinary levels among collectors