1. Madonna of the Meadow
Raphael's Madonna of the Meadow shows three figures; Mary, baby Jesus, and a baby St. John in a traditional triangular composition, and are linked through touch and their gazes. It is important to note that in this triangular composition, the three are symbolically linked to the “Holy Trinity”. Mary's pose is traditionally known as “contrapposto”, which was an important development in art during the Renaissance. Essentially, it describes a body in a twisting movement, or with the figure's weight shifted.
The peaceful and hazy background landscape shows the influence of Leonardo da Vinci on Raphael, as this background recalls landscapes such as that in the Mona Lisa.
Marriage of the Virgin 1504
Marriage of the Virgin, an influential perspective painting by Raphael, shows Mary and Joseph's marriage. Joseph is placing a ring on Mary's finger, while Mary's other suitors are shown breaking their staffs (Joseph's staff is blossoming).
Directly behind the marriage scene is a round temple centrally placed in the background, with the tiles of the pavement showing the receding perspective lines of the painting. The viewer can see through the open door of the temple to the open landscape in the background.
The composition is reminiscent of Perugino's Christ Delivering the Keys to St. Peter, which was painted for the Sistine Chapel in the Vatican to accompany Michelangelo's series. However, critics have argued that Raphael's technical skills in portraying perspective exceed those of Perugino, as Raphael effectively shows the figures gradually diminshing in size to show their distance. In his painting, Perugino portrays the figures in limited planes of distance.
The Triumph of Galatea 1512
The Triumph of Galatea was commissioned by Agostino Chigi, for his palace, devoted entirely to love in honor of his mistress. The palace later took on the name Villa Farnesina when it was acquired by the Farnese family.
The painting represents Galatea from the mythological story of Galatea and Polyphemus. Polyphemus was a one-eyed giant who had fallen in love with Galatea, yet Galatea was in love with a peasant shepherd. In this scene, the boorish Polyphemus sings a love song to Galatea, yet she rides away in her chariot laughing. It is interesting to note that in the Villa Farnesina, The Triumph of Galatea is placed next to a painting of Polyphemus by Sebastiano del Piombo, which allows Galatea's gaze to line up directly with Polyphemus.
The sea creatures surrounding Galatea reflect the influence of Michelangelo, through their highly muscular forms. This iconography also influenced Botticelli in his Birth of Venus painting.
