Putti (Detail from The Sistine Madonna) - Raphael
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A detailed reproduction of the two iconic cherubs from Raphael's Sistine Madonna, capturing their contemplative expressions and soft, painterly textures.
This image captures the two famous putti, or winged cherubs, positioned at the base of Raphael's larger composition, The Sistine Madonna. Originally commissioned by Pope Julius II for the church of San Sisto in Piacenza, the full painting depicts the Madonna and Child appearing to Saint Sixtus and Saint Barbara. These two figures have gained independent recognition over the centuries, often appearing in isolation as symbols of contemplative innocence.
Raphael employs a soft, sfumato technique to render the flesh tones of the children, creating a sense of volume and physical presence against the ethereal, cloud-filled background. Their expressions, one resting his chin on his hand with a gaze directed upward, the other leaning with a more passive posture, suggest a moment of quiet observation. The artist uses a warm, naturalistic palette to define their forms, while the dark, feathered wings provide a visual anchor to the composition. The lack of rigid outlines allows the figures to emerge naturally from the surrounding atmosphere, a hallmark of Raphael's mature style during his time in Rome.
While the original work is a large-scale altarpiece, this detail focuses on the human element of the scene. The putti serve as a bridge between the celestial realm of the Madonna and the earthly space of the viewer. Their presence adds a touch of informality to the otherwise formal religious subject matter. This print reproduces the subtle gradations of light and shadow present in the original oil painting, maintaining the clarity of the figures against the soft, diffused light of the clouds. It is a classic example of High Renaissance portraiture and composition, demonstrating the technical precision and balanced aesthetic that defined Raphael's career.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Putti (Detail from The Sistine Madonna) - Raphael
Artist Biography
Raphael
He was born in Urbino, the son of a painter. His father died when he was eleven, and by his teens he was already working in the studio of Perugino, whose smooth, symmetrical compositions gave Raphael his starting point. He surpassed Perugino quickly. He studied Leonardo's sfumato and Michelangelo's anatomical intensity and absorbed both without losing his own clarity. The Madonnas from his Florentine period (the Madonna of the Goldfinch, the Sistine Madonna) have a serene perfection that has been imitated for five hundred years and never matched.
Pope Julius II summoned him to Rome in 1508, the same year he commissioned Michelangelo for the Sistine ceiling. Raphael painted the Stanze della Segnatura: four rooms in the Vatican whose frescoes include The School of Athens, the single most famous image of classical philosophy. Plato and Aristotle walk through an ideal architecture surrounded by every major thinker of the ancient world. Raphael painted Michelangelo into the scene as Heraclitus, brooding alone on the steps. Michelangelo was furious.
He ran a large workshop that produced portraits, altarpieces, tapestry designs, and architectural plans. He was appointed architect of St Peter's Basilica. He was charming, diplomatic, and universally liked, which made Michelangelo dislike him even more.
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