Modern AI technology is casting new light on one of Raphael’s famous Renaissance paintings, “Madonna della Rosa.” Researchers using artificial intelligence (AI) have uncovered evidence suggesting that the face of St. Joseph in the artwork may not have been painted by Raphael himself.
The study analyzed the painting, which depicts the Madonna and Child alongside St. Joseph and St. John, a scene celebrated for its vibrant colors and emotional depth. “Madonna della Rosa” is housed in the Museo Nacional del Prado in Madrid and has long been attributed to Raphael, whose work defined the ideals of balance and beauty during the Renaissance.
However, questions about the painting’s authenticity have persisted for over a century. Some art historians have noted that St. Joseph’s face appears less refined than the other figures, sparking speculation about its true origin.
AI technology reveals inconsistencies in “Madonna della Rosa”
Using AI technology, researchers have now deepened this mystery. A specially designed algorithm, based on Microsoft’s ResNet50 framework and enhanced with Support Vector Machine techniques, analyzed individual sections of the painting. The team compared elements of “Madonna della Rosa” to verified works by Raphael, focusing on brushstrokes, color palettes and shading.
“When we tested the della Rosa as a whole, the results were not conclusive,” said Hassan Ugail, a mathematician and computer scientist at the University of Bradford, who led the study. “So, then we tested the individual parts and while the rest of the picture was confirmed as Raphael, Joseph’s face came up as most likely not Raphael.”
The AI-powered analysis operates at a microscopic level, identifying details far beyond what the human eye can perceive. The technology, which has demonstrated 98% accuracy in distinguishing Raphael’s works, suggests that another artist, possibly one of Raphael’s pupils, painted St. Joseph’s face.
Collaboration in Renaissance art points to Giulio Romano
Historical evidence supports this theory. Renaissance workshops often involved collaboration, with master artists delegating portions of their works to trusted assistants.
Giulio Romano, one of Raphael’s most talented students, is a likely candidate for contributing to the piece. Art critics have noted stylistic elements in St. Joseph’s face that align more closely with Romano’s approach than Raphael’s.
While the AI findings strengthen this hypothesis, they stop short of definitive confirmation. The technology reveals stylistic differences but cannot determine the identity of the artist who painted St. Joseph’s face.
The discovery has reignited debates about the collaborative nature of Renaissance art.
As “Madonna della Rosa” continues to captivate viewers, its blend of artistic genius and mystery endures, offering a glimpse into the complex world of Renaissance art and innovation.