圣母玛利亚与婴儿圣约翰浸信会；左上角，婴儿圣约翰右臂研究；右上角，Drapery（直肠）研究；裸体男性形象研究（verso） - 美国大都会艺术博物馆展品查阅

品名（中）	圣母玛利亚与婴儿圣约翰浸信会；左上角，婴儿圣约翰右臂研究；右上角，Drapery（直肠）研究；裸体男性形象研究（verso）
品名（英）	Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso)
入馆年号	1964年，64.47
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Raphael (Raffaello Sanzio or Santi)【1483 至 1520】【意大利人】
创作年份	公元 1501 - 公元 1512
创作地区
分类	图画（Drawings）
尺寸	8 13/16 x 6 1/4 英寸 (22.4 x 15.8 厘米)
介绍（中）	这张精心渲染的纸张重点介绍了《草地上的麦当娜》的构图研究，这是维也纳艺术史博物馆的一幅画，日期为 1505 年或 1506 年。在顶部，该表还包括两个零碎的研究，用于构图的相关细节。这是艺术家最早的红色粉笔画之一。当年轻的拉斐尔在1503年左右抵达佛罗伦萨时，在翁布里亚和被认为是省级中心的Marches地区进行了第一次工作之后，他开始通过绘制麦当娜和孩子的众多作品来建立自己作为艺术家的声誉。在佛罗伦萨，拉斐尔接触到了达芬奇和米开朗基罗的作品，可能正是这些艺术家向这位年轻的新人介绍了红色粉笔的媒介。拉斐尔为他的朋友兼赞助人塔迪奥·塔代（Taddeo Taddei）制作了《草地上的麦当娜》，他也是米开朗基罗的赞助人。这幅画的几幅准备图纸幸存下来，其中包括阿尔贝蒂娜（维也纳）、德文郡收藏（查茨沃斯）和阿什莫林博物馆（牛津）的图纸。大都会博物馆的图纸是这一系列现存准备图纸中的最后一张。对维也纳最后一幅画的科学检查表明，作为他创作过程的最后一步，拉斐尔还准备了一幅卡通（全尺寸绘画），但一直没有幸存下来。大都会博物馆的图纸与最终的彩绘面板仅在小细节上有所不同，这里最显着的区别是麦当娜的左臂在图纸中自由，被厚重的帷幔覆盖在画中。在阿尔贝蒂娜的一张纸的反面，上面有1507年博尔盖塞画廊的Predella面板之一的研究基督的埋葬是十字架后裔的钢笔设计（见参考文献Fischel，第182号）。与维也纳的纸张相关的是卢浮宫中的一幅钢笔画（见参考文献Fischel，第183号），画中一个裸体男性形象悬挂在十字架上;这个人物是全长，但显然来自我们画中的裸体。（卡门·班巴赫，2006）
介绍（英）	This delicately rendered sheet focuses on a composition study for the Madonna in the Meadow, a painting in the Kunsthistorisches Museum in Vienna that is dated either 1505 or 1506. Along the top, the sheet also includes two fragmentary studies for related details of the composition. This is one of the artist's earliest drawings in red chalk. When the young Raphael arrived in Florence around 1503, after his first work in the regions of Umbria and the Marches which were considered provincial centers, he began to establish his reputation as an artist by painting numerous compositions of the Madonna and Child. In Florence, Raphael came in contact with the work of Leonardo and Michelangelo, and it was probably these artists who introduced the young newcomer to the medium of red chalk. Raphael produced the Madonna in the Meadow for his friend and patron Taddeo Taddei, who was also Michelangelo's patron. Several preparatory drawings for the picture survive, among them sheets in the Albertina (Vienna), Devonshire Collection (Chatsworth), and Ashmolean Museum (Oxford). The Metropolitan Museum sheet is the last in this sequence of extant preparatory drawings. Scientific examination of the final painting in Vienna suggests that, as the last step of his creative process, Raphael also prepared a cartoon (full-scale drawing), but which has not survived. The Metropolitan Museum drawing varies only in small details from the final painted panel, the most significant difference here being that the Madonna's left arm, free in the drawing, is covered in the painting by heavy drapery. On the verso of a sheet in the Albertina with a study for one of the predella panels for the 1507 Borghese Gallery Entombment of Christ is a pen design for a Descent from the Cross (see ref. Fischel, no. 182). Related to the Vienna sheet is a pen drawing in the Louvre (see ref. Fischel, no. 183) of a nude male figure hanging as from a cross; the figure is full length but derives clearly from the nude in our drawing . (Carmen C. Bambach, 2006)