Full artwork / 1400 x 1800 px

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High RenaissanceAOP / RAPHAEL-MADO

Madonna in the Meadow

Raphael

Mary, Christ and the young John the Baptist form a calm pyramid within a luminous landscape.

Living Canvas / Visual evidence

Meaning, Symbols, Analysis and Details

Raphael makes intimacy monumental through a stable pyramid of three figures, linked gazes and a small cross.

Date: 1505-1506
Museum: Kunsthistorisches Museum Vienna
Palette

Evidence 01 / Visual analysis1.30x

01 / 05

Research note: The holding museum's collection record was consulted for object context; interpretations remain those of this atlas. Museum source

What remains debated

Evidence has limits.

The cross supports a Christian reading of foreknowledge, but the painting does not narrate one literal moment from the Gospels. Raphael combines devotional meaning with an idealized visual construction.

Questions about this painting

Meaning without a thin page

What should I look at first in Madonna in the Meadow?

Begin with three bodies form a calm pyramid, then compare it with gazes circulate within the group and the cross introduces future suffering. The sequence moves from visible structure toward interpretation.

What does Madonna in the Meadow mean?

Verify / 02

Verify the object record

Titles, dates, media, dimensions, institutional identifiers and retained sources remain separate from interpretation so each fact can be checked independently.

Record completeness

Verification in progress

93%

Primary title: Madonna in the Meadow
Original title: The Madonna of the Meadow
Alternate titles: Madonna in the Meadow; Madonna del Prato
Creator: Raphael
Date: 1505-1506
Movement: High Renaissance
Object type: Painting
Dimensions: 113 × 88.5 cm
Holding institution: Kunsthistorisches Museum Vienna
Current location: Kunsthistorisches Museum, Gemäldegalerie, Room I
Accession number: Gemäldegalerie, 175
Attribution: Raffaello Santi, called Raphael
Digital image: 1400 × 1800 px

Compare / 03

Compare evidence, not just images

Set this work beside a related painting to test differences in date, artist, movement, subject, palette and visible evidence.

Open side-by-side comparison

Launch relationship 02

The Arnolfini Portrait

Jan van Eyck · 1434

How do material objects, bodily ideals and spatial organization produce authority in Northern and Italian Renaissance painting?

3 paired visual evidence records, historical context and an editable thesis.

Open evidence study Edit the argument

c. 1506-1507

The Madonna of the Pinks

Raphael

High Renaissance

c. 1607

Madonna of the Rosary

Caravaggio

Baroque

c. 1475-1478

St. Francis in the Desert

Giovanni Bellini

Venetian Renaissance

Learn / 04

Follow this painting through the knowledge graph

Continue through artist, movement, subject, emotion, color and visual-analysis methods. Each destination adds independent context instead of repeating the same interpretation.

Analyze this painting Elements of art Composition guide Religious Art Red paintings Madonna motherhood children landscape religion

Historical significance

Why this work still matters

The painting is a classic statement of High Renaissance balance, idealized beauty and unified composition.

Detail coordinates

Look more closely

01Trace the triangle formed by the three heads and bodies.
02Follow the exchange of gazes and hands.
03Notice how red and blue stabilize Mary's figure.

Reuse / 05

Turn the record into a usable result

Carry the verified object identity into a citation, classroom worksheet or source trail. Reuse means research, teaching and creative reference, not merely downloading an image.