Oil on Canvas 24" Diameter 11/13/2017
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When Raphael created "The Alba Madonna", he used the round format to direct the eye of the viewer on what may be the most beautiful of all religious paintings. I think Raphael, consciously, or unconsciously used what math and geometry he could, along with color, to entice the viewer into loving his masterwork. So masterful and beautiful in his execution, this painting along with the great cathedrals and churches, inspire belief.
I present to you the hidden superfluous geometry of this work. The form and fluid motion that is evident to me in the work. This is my second religious painting in a row, and while I feel strongly that both images are statements against Christian dogma. Exactly how in this case I am not sure, except for the appearance of fractal testicles above the Madonna's head. I will allow the viewer to draw their own conclusions and interpretations, or just hopefully enjoy the beauty in the original and its fractal enhancements.
I have simply changed the Alba to Algo to designate the algorithmic nature of my interpretation. The Algo Madonna is another in the series of fractal reconstructions of classic masterpieces I have taken on to display the ability of the fractal to illustrate or enhance any imagery. When I created the two flame fractals that I used to enhance this work I immediately knew they were part of Raphaels masterpiece.
Original Flame Fractal image is derived from
Art historian Andrew Graham-Dixon says of the painting:
The Alba Madonna is a breathtakingly beautiful work of art, all the more impressive since recent restoration work brought back the original, delicate pastel colours used by the artist, and revealed the subtle depth and brilliancy of the landscape background. The buildings on the hilltop at the right-hand edge of the composition are caught by a raking light and have been misted by varying degrees of haze to create the illusion of relative distance from the eye – a technique known as aerial perspective. The far mountains are similarly hazed by distance to a rich azure, while the sky above varies in colour from Wedgewood blue, at its apex, to a cool milky-white on the horizon. This range of colours is repeated in the folds and shadows of the Madonna’s blue robes, which at once echo and animate the circular shape of the composition. A monumental, comforting figure, clothed in robes that look as if woven from a piece of fallen sky, she seems like a world unto herself. Although she sits on the ground, which links her iconographically to the tradition of the Madonna of Humility, her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity. The faintest trace of archaism survives, in Raphael's painting technique, in the almost imperceptibly delicate gold halo inscribed into the air above her head.