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Portrait of a gentlewoman called la Muta
Flagellation
Ideal city
Madonna of Senigallia
Crucifixion
Portrait of Federico da Montefeltro and his son Guidobaldo
Madonna and Child, St. John the Baptist and St. Anna
Madonna of San Simone
Sant'Ambrogio
Bartolo from Sassoferrato
Miracle of the profaned Host
The miraculous catch
Resurrection
Alcove of the Duke
Refreshment
Federico's study
Device with winch
Five times
Madonna and Child Enthroned and Saints known as the Montefiorentino Polyptych
David contemplates Goliath's taken off head
St. Francis receives the stigmata
Portrait of a gentlewoman called la Muta
Flagellation
Ideal city
Madonna of Senigallia
Crucifixion
Portrait of Federico da Montefeltro and his son Guidobaldo
Madonna and Child, St. John the Baptist and St. Anna
Madonna of San Simone
Sant'Ambrogio
Bartolo from Sassoferrato
Miracle of the profaned Host
The miraculous catch
Resurrection
Alcove of the Duke
Refreshment
Federico's study
Device with winch
Five times
Madonna and Child Enthroned and Saints known as the Montefiorentino Polyptych
David contemplates Goliath's taken off head
St. Francis receives the stigmata

Madonna of Senigallia

Piero della Francesca

Displayed in:

National Gallery of the Marche – Ducal Palace of Urbino

National Gallery of the Marche – Ducal Palace of Urbino

Piazza Rinascimento 13, Urbino

Open now from 08:30 to 19:15

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The work comes from the church of Santa Maria delle Grazie in Senigallia and arrived in the Gallery in 1917. Many scholars consider it a gift from Federico da Montefeltro for the wedding of his daughter Giovanna with the lord of Senigallia, Giovanni Della Rovere. The execution of Piero della Francesca dates back to 1474, the year of the pro forma marriage, or to 1478, the actual year of the wedding. The painting recalls, in an intimate tone, the largest altarpiece of San Bernardino by the same master and depicts the Madonna, the blessing Child and two angels in adoration, dressed in sober and refined clothes. The figures, hieratic and monumental, are inserted in a domestic setting given by a diffuse and subtle brightness. The interest in light, evident in the dusty ray of sunlight present in the small room in the background, testifies to Piero's approach to the Flemish masters, also present in the Urbino court. From these he learns the use of oil painting and visual devices that allow him to accentuate the three-dimensionality of the volumes. At the same time Piero achieves a high formal synthesis that recalls the abstract and solemn architecture of Federico's Palace. Many elements, such as the same ray of light that enters through the closed window, the white rose in Jesus' hand, the coral necklace he wore and the objects painted in the niche on the left, refer to enigmatic symbologies deriving from the Christian tradition.
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Details

Title: Madonna of Senigallia

Author: Piero della Francesca

Date: XV sec.

Technique: tempera and oil on panel

Displayed in: National Gallery of the Marche – Ducal Palace of Urbino

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