A Random Image
The Conservation Center
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SAMUEL H. KRESS COLLECTION RESEARCH: GIULIANO BUGIARDINI

ARTIST'S CHANGES


Digital infrared composite detail of the Madonna’s torso with a mapping of underdrawn lines (red) and early lay-in of paint for the mantle and finger positioning (blue.) Click image to enlarge


Detail of the Madonna’s torso. Click image to enlarge


Detail of the Madonna’s torso photographed in specular light reveals the texture of the early painting of the blue mantle, most noticeable in the area to the upper right of Saint John’s head. Click image to enlarge

Examination with infrared reflectography reveals that Bugiardini changed his mind several times while painting. In particular, he radically rethought the Madonna’s pose and positioning of her mantle. Unlike the underdrawn mantle which draped across her chest and wrapped tightly around her waist-line, when the artist began painting the blue mantle he referred back to the Florentine painting, with its loose drape falling across the Madonna’s lap, wrapping around her back, and looping over her proper left shoulder. However, this idea was abandoned in later stages of painting and was painted over with changes and adjustments that can be seen in the final image.


Digital infrared composite detail of the Madonna’s torso with a mapping of the underdrawn lines (red,) the early lay-in of paint for the mantle and finger positioning (blue) and the final changes seen in the painting (green.) Click image to enlarge

In the completed painting, the mantle no longer falls across the Madonna’s waist but rather covers her entire proper right side, from just below the waist, tightly encircling her body. While the mantle still continues to drape back over her proper left shoulder, additional painted folds and fabric were added to cover part of her proper left arm, creating a greater sense of movement and better balance to the composition. Additionally, in a later stage of painting, the Madonna’s posture was shifted, leaning less toward the Christ Child, as evidenced by a pentimento of the landscape which extends underneath the red paint of the Madonna’s proper right shoulder. Unlike the Florence painting with the Madonna’s red sleeve pushed up to her elbow, the sleeve in the Allentown painting extends below her elbow, emphasizing the downward direction of her gaze and establishing a central focal point between the two children.  Although the Madonna’s head was painted slightly larger than the underdrawn head, she was always conceived with her head tilted downward as no changes were made to the Madonna’s face or to the angle of her head. With her downward gaze and the shift in her posture, the Virgin more effectively interacts with both children, reinforcing her symbolism as mediatrix between her Son and mankind. The changes made during the painting stages ultimately shift the painting away from the Accademia version and towards a Raphaelesque model.


Detail of the Madonna’s proper right shoulder
The white arrows point to the pentimento of the
landscape that extends underneath the red robe.
Click image to enlarge
Detail shadowgraph of the Madonna’s proper right shoulder. The more radio opaque paint of the landscape and sky is seen underneath part of the less radio opaque paint of the red robe.
Click image to enlarge

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