Raphael (1483–1520), Alexander Farnese, The Eternal Father, Moses at the Capodimonte Museum in Naples

Raphael “The Eternal Father and the Virgin”

Raphael, The Eternal Father and the Virgin Painting – Tempera on wood (110 x 114 cm) 1501

This work by Raphael, which formed the central panel of a polyptych, was commissioned in 1500 when he was only 23 years old.

Evangelista di Pian di Mileto contributed to this painting by depicting the cherubs surrounding the Eternal Father, which are of a lower standard in both style and quality than the rest of the work.

God the Father dominates the painting through his powerful presence, suggested by his great size.

Not only is the Virgin at his feet, but she appears almost twice as small as God.

Raphael, The Eternal Father and the Virgin They are visually united by the crown that each holds in their hands.

God gazes thoughtfully at the crown which he holds delicately between his fingertips, and the Virgin does the same.

The repetition of this gesture is difficult to interpret.

The most obvious explanation would be that God the Father is about to crown the Virgin, who is humbly gazing at the crown she holds in one hand, having just received it.

The Virgin is depicted wearing the blue mantle of human nature, whilst God is clad in the red of divinity.

Raphael “Portrait of Cardinal Alessandro Farnese”

Painting – Oil on wood (139 x 91 cm) 1509–1511

Raphael was already painting the Vatican rooms at the time this portrait was commissioned.

Alessandro Farnese His position as the Vatican’s official painter is undoubtedly the reason why the young and ambitious Cardinal Alessandro Farnese asked him to paint his portrait.

These ambitions proved successful, as some twenty years later, in 1534, Alessandro Farnese became Pope under the name of Paul III.

Alessandro Farnese was responsible for the extraordinary collection of paintings and sculptures on display at the Archaeological Museum of Naples (MANN) and at the Capodimonte Palace.

From an artistic perspective, Raphael skilfully captured the intense gaze of the young art-loving cardinal, whose face conveys his strength of character in this official portrait.

The realistic depiction of the beauty of Alessandro Farnese’s hands is admirable, particularly the one holding the sheets of paper.

Raphael “Moses before the Burning Bush”

Drawing – Charcoal and black chalk on paper (140 x 138 cm) 1514

This magnificent drawing depicts Moses, covering his eyes before the burning bush.

This work reflects the radical change in Raphael’s style following his viewing of Michelangelo’s frescoes in the Sistine Chapel, completed three years earlier.

Raphael, Moses facing the burning bush, Capodimonte Museum, Naples, Italy

Raphael, Moses in front of the Burning Bush This is a preparatory sketch depicting a small section of the fresco that adorns the vault of the Chamber of Heliodorus in the Vatican.

The episode of the burning bush, as recounted in the Bible, describes the moment when Yahweh appeared to Moses:

“Whilst he was tending Jethro’s flock on Mount Horeb, the angel of God appeared to him in a flame, from within a bush that was not consumed.

Yahweh called to him from within the bush, told him to take off his sandals, and introduced himself: ‘I am the God of Abraham, Isaac and Jacob.’ Moses covered his face.”
The Bible, Old Testament – Exodus 3:6