Reimagining Raphael’s Sistine Madonna: The Aesthetic of Angels in modern lifestyle and fashion branding.
Words by Amelia Erswell
Raphael's Sistine Madonna (1513-14).
It goes without saying that Raphael’s Sistine Madonna is immensely infamous and interesting in its own right. Commissioned by Pope Julius II in 1512, this piece of artwork served as an altarpiece for the San Sisto basilica church in Piacenza. Over the past 500 years, this piece has been relocated on several occasions and achieved further provenance as a result. Upon its arrival in Dresden during 1754, several stories and plays were inspired by “Raphael’s Dream” – an alleged myth that the painter was inspired by a heavenly vision. Arts and culture thrived as a result of artists’ spectating the image, amongst which include: Goethe, Wagner and Nietzsche.
Not only surviving The May Uprising of Dresden during 1849, the painting was caught in the crossfire of warfare again when the city was bombed in 1945, as a result of WWII. Acquisitioned by the Workers and Peasants’ Army, in a manner which remains contentious, the Sistine Madonna was taken from a tunnel in Saxon Switzerland. Residing in the Pushkin Museum for several years, after the death of Joseph Stalin the artwork was later returned to Germany – a diplomatic gesture attempting to consolidate the Soviet’s relationship with the Germans. The history of this artwork not only displays the skill and refinement of a brilliant artist, but recalls how the painting oversaw conflict and the destruction of cities and countries. It highlights the complexity of international relationships, how artwork is regarded as a form of currency … in both its prestige and monetary value.
Having marked its quincentenary in 2012, some might ask: how does the legacy of the Sistine Madonna remain immediate in popular culture? Well, in answer to this enthralling question, this is achieved in several ways … primarily a result of the winged putti in the bottom of the canvas.
Close up of the putti in Raphael's Sistine Madonna.
Putti is an Italian term which typically refers to chubby-cheeked male children, depicted in artwork. These figures became synonymous with the cherubim and angels that, today, we commonly associate with Renaissance paintings. Despite traditional Christian angelology, such as the Book of Ezekiel, suggesting that cherubs had two pairs of wings, four faces (that of a lion, ox, human and eagle) and hooves instead of feet … rather unsurprisingly these pictorial depictions did not stick!
Personally, as an English student, when I think about cherubim I immediately turn to Christina Rosetti’s poem In the Bleak Midwinter, which states:
‘Angels and Archangels may have gathered there,
Cherubim and Seraphim thronged the air;
But only his Mother, in her maiden bliss,
Worshipped the beloved, with a kiss’
Raphael achieves such an image within his composition of the Sistine Madonna. Ethereal, striking and rich, Rosetti’s creative interpretation of the scene was further endorsed by Gustav Holst’s compelling composed setting in 1966, in which he reimagined the poem with melodious harmony.
As Holst reappropriated Rosetti’s words, Raphael’s work was likewise reinterpreted. Of all its uses in contemporary culture, the two which seem most interesting are that of Whispering Angel and Fiorucci.
Both brands use the two putti from Raphael’s painting to inspire their logo. Whispering Angel is one of the most popular Provence-style rosé wines. Produced by Sacha Lichine at Château d’Esclans, this wine retails at roughly £290 a case. Definitely a lifestyle item, this brand prides itself on luxury. By condensing the negative space between the two putti in Raphael’s original image, the logo creates a more intimate and social image. Staring into the same space, as opposed to different directions, the logo suggests they observe the vineyard, overseeing the process of production with a heavenly eye. Does this mean anything in actuality, probably not … but it does make for some phenomenal subliminal advertising and symbolism.
Whispering Angel's logo.
Likewise, you can purchase merchandise from Fiorucci with a very similar composition to that of Raphael’s. Whilst the two cherubs are more androgenous (passing for what we might refer to as Angel’s in modern popular culture), their features pay homage to Raphael; their dewy and plump skin radiates health and beauty, their glistening eyes and tentative glance into the mid distance adds an innocent and captivating dimension to the image – both features are faithful to the original.
Fiorucci's logo.
With this said, their luscious locks and alice-bands anchor the fashion brand in the late 1960s. The garishly bold and graphic title further forces the consumer to focus on the brand, and forget about the provenance of the composition. An Italian fashion brand, established by Elio Fiorucci in 1967, it provided Milan access to innovative fashion trends, previously seen in London and America: t-shirts and jeans. A leader in fashion, popularising items such as thongs and Afghan coats, this company has had its ups and downs. Following its purchase by ex-CEO of Victoria’s Secret, Janie Schaffer, it has been relaunched with pop-ups in Barneys, Selfridges and Harrods.
While, in recent years, Victoria Secret have condemned their previous use of “the Angels”, suggesting that it does not fit with their new direction, Djerf Avenue have picked up the baton. A Swedish brand created by Matilda Djerf, the influencer likes to refer to her following as ‘her Angels’. Aiming to use ‘angel’ as a term of endearment, Matilda cleverly reworks the fashion industry’s previous use of the term (to depict supermodels and unattainable standards of beauty). It is glorious that the term can be reworked to fit a modern function, suggesting that beauty is within the eye of the beholder and universal. An incredibly fresh and optimistic outlook. As the term angels can be reworked so positively, should we embrace the reimagining of Raphael’s putti in lifestyle branding?
There is a bright future for both Whispering Angel and Fiorucci it seems, enabling the legacy of Raphael’s Sistine Madonna to live on, in both wine and fashion! Would Raphael approve? Unfortunately, we will never know.
