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The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive. [1] [nb 1] Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. [2]
Notes: Michelangelo's only authenticated easel painting. Created for Agnolo Doni as a Wedding present for his wife Magdelena. References: Uffizi Polo Museale Fiorentino, Inventario 1890: online database: entry 1456 (Italian)
The Doni Tondo (1504–1506) Male figure The kneeling Angel is an early work, one of several that Michelangelo created as part of a large decorative scheme for the Arca di San Domenico in the church dedicated to that saint in Bologna.
The Madonna and Child with St John and Angels (c. 1497), also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. [1]
The tondo as a format for painting and relief sculpture was a quintessential product of the Florentine Renaissance. During the century after 1430, all the leading artists created tondi, including Filippo Lippi, Botticelli, Luca Signorelli, Piero di Cosimo, Fra Bartolomeo, Andrea del Sarto, Leonardo da Vinci (in a lost work), and Raphael.
Antonio del Pollaiuolo, Portrait of a Young Woman (1470–1472), Museo Poldi Pezzoli, Milan. Facade of Santa Maria Novella (1456) Michelangelo, Doni Tondo (1503–1504). The Florentine Renaissance in art is the new approach to art and culture in Florence during the period from approximately the beginning of the 15th century to the end of the 16th.
The chronological position of this work has been the source of some dispute, although it is generally considered an early work. [2] Some authorities believe that it may have been executed by one of Michelangelo's pupils from a drawing by the master or was a direct imitation of his work.
In the unfinished tondo only the heads of Mary and of the baby Jesus are in high relief. Mary is depicted with an open book on her knees. Detail of her eyes is not complete, as in the typical style of Michelangelo, but interpretations suggest that her gaze seems distracted, as if she is looking into the distance and meditating on the fate of her son that is foretold in the scriptures she is ...