top of page
Search
  • hunttl

Could a discovered painting in Boston be the great Raphael's Lost Madonna Gonzaga?

In the year 1913, a painting of Blessed Mother Mary and the Infant Jesus was discovered in Boston by a man named Patrick E. Duffee. This painting’s sheer beauty, artistic technique, and divine nature caused many to speculate that the painting was created by the great Italian Renaissance painter, Raphael Sanzio. The Madonna Gonzaga was a painting that was commissioned by Isabella d’Este of Mantua, in the year 1515, with orders for Raphael to create a painting of the Mother and Child. Unfortunately, Raphael died before completing this artwork, and the painting was never identified. Art lovers, historians, and critics have gone to great lengths in attempting to authenticate the painting. The provenance of the Madonna Gonzaga provides rich information on the authenticity of the painting, and its unique Raphaelesque characteristics define the Renaissance period in which it was birthed.

The genesis of the Madonna Gonzaga is significant in understanding the authenticity of the painting discovered in Boston. The painting was commissioned by a woman named Isabella d’Este, and during her lifetime, she was a force to be reckoned with. For example, Isabella played a critical role in the longevity of Mantua through her diplomacy. Isabella was very well-rounded, she was intelligent, articulate, and deeply religious. Moreover, Isabella had a great love for art and was very particular. She expected “nothing but perfection” in the art she commissioned. Isabella was known to be very specific and often gave thorough descriptions of what she expected. Raphael was known for his excellence in creating Madonnas. Isabella had a specific vision of Madonna and Child. Glodt argues that Isabella’s collection of Madonnas resembles the painting in Boston, for example, the drapery and poses of the Mother and Child are very similar to her existing Madonnas. Raphael was unable to complete his painting for Isabella as he passed away, but Glodt stresses that the painting arrived at Mantua after the death of Raphael. A letter regarding Isabella d’Este’s wishes for the Madonna and Child provides historical evidence that there was a painting by Raphael Sanzio in the works. The genesis of the Madonna Gonzaga and historical records between Isabella and Raphael provides an argument that the painting in Boston is the “lost Madonna.”

The journey of the Madonna Gonzaga provides information on how the painting came to America. The painting was in the collection of Joseph Bonaparte, the brother of Napoleon. According to Baptist Rector Dr. Gilliford, the painting traveled from Paris to America. After Joseph Bonaparte settled in New Jersey, the Madonna and Child painting was sold. Eventually, the painting resided in New England. The Protestant community was prominent in New England, at the time, Protestants did not believe that faith and art should have any relation together. Protestants were against anything related to the Roman Catholic Church. As a result, the painting was hidden and unappreciated for generations. The painting was passed down for generations through inheritance until it fell to the attention of Patrick E. Duffee.

Patrick E. Duffee is the man who discovered the Madonna Gonzaga painting in Boston. Mr. Duffee was a portraitist who was well-educated in art. According to John Glodt, Mr. Duffee was “gifted with a vast experience in matters of art and with great ability to trace a painting back to the school and the artist to whom it is to be attributed.” Mr. Duffee had been aware of the “lost Madonna”, and was on a quest to find the painting. In an account told by John Glodt, Mr. Duffee stumbled upon the painting while having dinner with a friend of many years. This friend had a valuable collection of artwork by inheritance from his father. Mr. Duffee had asked his friend if there were any other paintings. After a long attempt to unlock the attic, Mr. Duffee and his friend stumbled upon the one painting in the room which was a painting of a Madonna and Child. Many factors led Patrick E. Duffee to believe that the painting was the lost Madonna of Raphael Sanzio, it was evident in the colors, expression, and divine nature of the painting. Mr. Duffee purchased the painting from his friend. The story is continued through the account of John Noonan.

A letter between John Noonan and the Reverend Coleman Barry of Catholic University provides more information on Patrick Duffee, Helen Hammond, and the provenance of Madonna Gonzaga. John Noonan had a personal interest in the Madonna painting and had a relationship with both Mr. Duffee and Helen Hammond. The story is continued in the corresponding letters between Mr. Nonnan and Reverend Barry. On November 9, 1973, Mr. Nonnan sent a descriptive letter about the discovered panting’s history and how it was given to Catholic University. According to his letter, his wife stumbled upon a window painting that reminded her of a similar painting from Trinity College, which is known as the Murillo. Like Mr. Duffee, Mrs. Noonan learned about the “lost Madonna” in one of her art classes at Trinity College in Washington, D.C. That instance led Mr. and Mrs. Noonan to form a personal relationship with Mr. Duffee and Miss Hammond. After obtaining the Madonna, Patrick Duffee took the painting to Europe and claimed it as a Raphael masterpiece. He then returned to Boston and had the Madonna displayed at Helen Todd Hammond’s studio. According to Noonan, the purpose of displaying the painting at Miss Hammond’s studio was to bring revenue for people to purchase copies of the Madonna painting and to proliferate Helen Hammon’s business. According to Noonan, Helen Hammond was very talented as some of her works include painted portraits of Theodore and Mrs. Roosevelt, Cardinal O’Connell, and President Taft. John Noonan wrote Mr. Duffee’s will which specified that the Madonna Gonzaga would be given to Helen Hammond. At the end of Miss Hammond’s life, Mr. Noonan wrote her will as well. Miss Hammond’s wish was for the painting to be given to Catholic University, so it could be displayed in the Basilica of the National Shrine of the Immaculate Conception. Noonan states that before her death, Helen Hammond had the Madonna Gonzaga painting kept in The First National Bank of Boston. Mr. Noonan’s letter provided rich information on the provenance of the Madonna Gonzaga as he had a personal relationship with both Mr. Duffee, the man who discovered the painting in Boston, and Miss Hammon, the woman who bequeathed the painting to Catholic University.

John Noonan further explained the situation after the Madonna Gonzaga Painting was given to the University. The painting had been destroyed during its time in the vault and required restoration. Due to the costs of the repairs, Catholic University declined the painting and requested for it to be destroyed. John Noonan took the matter into his own hands and personally paid for the repairs so long as the painting would be displayed at the University. Noonan took the Madonna painting to Fogg Museum at Havard to have the painting repaired, which cost $300. According to Mr. Noonan, the restoration was successful and was sent to the University. Mr. Noonan sent more letters to Catholic University urging for the painting to be displayed, as it had been kept in a vault. Mr. Noonan concluded his letter by discussing the authenticity of the Madonna Gonzaga painting. Noonan stressed that regardless if the painting was done by the great Raphael or not, there is still something to be admired in the discovered painting. It is evident that Mr. Noonan deeply cared for this beautiful painting, and did everything in his power to restore it despite the University’s lack of help. John Noonan provided rich information on how Madonna Gonzaga came to Catholic University.

The provenance of the Madonna Gonzaga painting goes back to the Renaissance. Understanding the genesis and history of the painting brings Madonna Gonzaga’s authenticity to light. Isabella d’Este’s desire for a specific Madonna and Child, her existing Madonna collection, and her letters to Raphael demonstrates that there was a Madonna and Child painting in the works by Raphael Sanzio. Furthermore, the painting’s journey to America is significant as it is an indicator of whether the painting in Boston is the “lost Madonna.” Patrick Duffee, Helen Hammond, and John Noonan were people who played a critical role in the painting’s journey to Catholic University. John Noonan’s urgency to restore the painting demonstrates dedication and pure admiration for the painting. Though the painting’s authenticity is in question, the painting’s astonishing beauty remains constant. Isabella d’Este demonstrates the genesis of the painting and the accounts of John Glodt and John Noonan provide rich information on the authenticity of the painting. Many characteristics of the painting demonstrate Raphael’s famous techniques during the Renaissance.

The Madonna Gonzaga painting’s composition, artistic technique, and signatures suggest that the painting was created during the Renaissance by the great Raphael. These three characteristics, which are found in the discovered Madonna Gonzaga painting, are ones that Raphael Sanzio were well-known for. The first Raphaelesque characteristic is the composition of the painting. Glodt argues that “no master ever equaled Raphael in the richness of composition.” This suggests that Sanzio was a great master in the Renaissance. Raphael is able to understand deep concepts of unity and proportions. Raphael is well known for his dedication to creating Madonnas. As mentioned earlier, Isabella’s desire to have a Madonna created by Raphael was because of his mastery of the subject matter. According to Glodt, Raphael “developed a perfect passion for painting the Madonna.” Though Raphael created a multitude of Madonnas, each artwork had its own unique characteristic that was similar to his other works yet different in its own way. Glodt provides three examples of how the composition of the Madonna Gonzaga in Boston is characteristic of Raphael. The first is a composition of a sketch attributed to Raphael that has very similar to the Madonna Gonzaga painting discovered in Boston. There is only a slight difference in the positioning of Infant Jesus’ foot. The second composition by Raphael, which can be found in Oxford, also has similarities to the Madonna Gonzaga in Boston. The difference is that the Blessed Mother is holding a book. The third example is the composition of a sketch for a tomb, which is for Isabella d’Este’s husband. These three compositions attributed to Raphael are very similar to the discovered Madonna Gonzaga painting in Boston. This demonstrates that the composition of the discovered painting share similarities from Raphael’s composition of his other works during the Renaissance.

The artistic techniques of the discovered painting share the same artistic techniques of Raphael Sanzio. According to Glodt, Raphael was very precise in his painting technique. His technique differentiated himself from other Italian and Flemish masters. One example is Raphael’s mastery of colors. Glodt acclaims Raphael to be the “greatest colorist”, this is evident in Raphael’s ability to create realistic flesh tones. In the Madonna Gonzaga painting in Boston, the colors are well blended and the translucency of the drapery on Infant Jesus is characteristic of Raphael Raphael achieved this greatness by layering colors that took years to dry. The second example if the painting’s Raphelesque characteristics are supported by the decomposition of the painting. According to Glodt, the color of works of art from the same master deteriorate similarly. The colors of the Madonna Gonzaga painting in Boston crack in the same manner as Raphael’s works. The third artistic technique of Raphael that is demonstrated in the Boston painting is the use of “black crayon and a thin transparent glaze.” This technique was brought to light by Haquin, a French man who restored many artworks of Raphael. According to Glodt, the painting in Boston had “the same method of shading, use of black crayon, and coating.” The mastery of colors, decomposition, and use of crayon and glaze are all characteristics of Raphael Sanzio. These three artistic techniques are found in both the painting in Boston and in other works of Raphael.

The third Raphaelesque characteristic of the Madonna Gonzaga painting is the signatures found in the painting. Artists began to sign their work during the Renaissance, which was uncharacteristic of masters before the time period. According to Glodt, “Raphael used monograms.” Raphael signed as RSU, which stood for Raphael Sanzio of Urbino. One example of a signed artwork with Raphael’s monogram is demonstrated in several portraits of Pope Julius II. According to Glodt, the Madonna painting in Boston has the monogram R.S.U found on “garments of Mother Mary around Jesus’ hand.” Another example of characteristics of Raphael is that the painting is dated 1520, the same year Raphael died. As mentioned earlier, Raphael died while completing a painting for Isabella during that time. The signature found in the Madonna Gonzaga painting demonstrates that it has Raphaelsque characteristics. During the Renaissance, artists began to sign their own works, which is true of Raphael’s artworks. The signed data also provides insight into the painting as it coincides with the historical timeline in which the painting was birthed.

The provenance of the Madonna Gonzaga provides rich information on the authenticity of the painting, and its unique Raphaelesque characteristics define the Renaissance period in which it was birthed. The painting was commissioned by Isabella d’Este with a specific vision for Raphael to create. The painting eventually landed in the hands of Joseph Bonaparte, which explains its travels from France to America. The accounts found in John Glodt’s book and John Noonan’s letters between Catholic University provide rich information on how the painting was discovered in Boston and brought to Catholic University. The provenance history of the painting brings to light the authenticity of the painting, as the history from the birth of the painting, to its travels, to where it currently resides is key to the painting’s authenticity. Furthermore, the issue of authenticity highlights the beauty of the artwork. Full authentication of the artwork is near impossible, but it demonstrates the greatness of the painting. The admiration for the beauty of the painting is demonstrated by Noonan’s efforts in restoring the painting. The painting provides three characteristics that were characteristic of the great Raphael during the Renaissance. The composition of the painting, the artistic technique, and the signatures support characteristics of the great Renaissance painter. The discovered painting demonstrates characteristics of other artworks of Raphael’s time. It is still unknown whether the painting is truly the work of Raphael Sanzio, but it can still be appreciated as a masterpiece.


The discovered painting of the Madonna Gonzaga


Composition sketch by Raphael Sanzio


15 views0 comments

Recent Posts

See All

Just a Statue, or Something More?

For my ART 272 class Visual Assignment project, I studied object number 125, a carved wooden statue of the Blessed Virgin Mary, with a book in her left hand. Her right hand sits on her breast. The exa

Post: Blog2_Post
bottom of page