Focus on Raphael and La Fornarina and analyze the abstract.
Raphael and La Fornarina is an oil painting on canvas executed in 1813, in Italy, by Jean-Auguste-Dominique Ingres. It is the first of five versions of the painting he produced between 1813 and his death in 1867. In 1814 his first version was exhibited at the Salon. The work shows the renowned painter, Raphael, sitting in his studio with his mistress, La Fornarina (the baker), on his knee. His embrace reflects his affection and desire for her, while his gaze towards his own artwork, his portrait of his mistress, indicates his love for art. This contrast represents the painter's major conflict between who he loves and what he loves. The mistress makes eye contact with the viewer and her posture, specifically her arms resting on his shoulders, shows how proud and satisfied she is with being his mistress and inspiration. The Fornarina's sensual gaze at the viewer claims her importance and place both within the artist's studio and profession.Although Ingres thoroughly researched the Renaissance artist's life through biographies by Giorgio Vasari and Angelo Comolli, and planned to create a series of paintings based on his life, in the end he only produced two scenes: Raphael and La Fornarina (and its succeeding versions) and the Betrothal of Raphael. The depiction of the Fornarina resembles not only the Virgin Mary in the painting in the background of the Madonna della seggiola, but also Ingres's depiction of the promiscuous Grande Odalisque. The parallel highlights a connection between Raphael and Ingres as they both paint what they desire.
Giorgio Vasari Jean-Auguste-Dominique Ingres Raphael Renaissance Grande Odalisque Madonna della seggiola La Fornarina