h3b18bq
Marriage of the Virgin
The Marriage of the Virgin (1504) by Raphael demonstrates the full understanding
of linear perspective that had developed by the High Renaissance. Raphael was
influenced by both Leonardo da Vinci and Michelangelo, but his work has its
own unique sense of balance and clarity.
Bridgeman Art Library
Madonna of the Goldfinch
Madonna of the Goldfinch (1505) is an early example of the series of Madonnas
that Raphael painted throughout his life. The influence of Leonardo da Vinci
on Raphael can be seen in the way the faces are depicted and in the use of chiaroscuro
(dark and light contrasts). However, Raphael's handling of dark and light is
subtler than the chiaroscuro of Leonardo's work.
Bridgeman Art Library
School of Athens
The School of Athens (1510-1511) is one several frescoes that Raphael painted
for the Stanza della Segnatura, in the Vatican. The fresco, which depicts Plato
and Aristotle (centre), as well as other ancient Greek philosophers and scholars,
marks the mature style Raphael achieved during his years in Rome (1508-1520).
The work is considered a masterpiece in the use of perspective and in the portrayal
of the artistic ideals of the High Renaissance.
Scala/Art Resource, NY
Raphael Drawing
Subtle shading, giving the illusion of voluptuous, rounded shape is characteristic
of the work of Raphael. Like many other Renaissance drawings, this one, in red
chalk, was probably a preparatory study for a future painting.
Scala/Art Resource, NY
Raphael (painter) (1483-1520) (properly, Raffaelo Sanzio), Italian painter
who was one of the leading artists of the Italian Renaissance. He created many
of the most significant paintings of the early 16th century and his art was
extremely influential for centuries after his death.
Raphael was born in Urbino on March 28 or April 6, 1483. His father, the artist
Giovanni di Santi, worked mainly for Francesco Gonzaga in Mantua, and Raphael
spent his youth in a courtly environment. In 1500, so Vasari records, Raphael
was apprenticed to Perugino, a highly respected artist who was one of the first
in Italy to paint extensively in oil. He employed pure strong colours for his
figures, which were imbued with a particularly sweet air of piety, often setting
them in landscapes infused with pale, shimmering light.
Raphael's early paintings include large altarpieces as well as smaller works,
both devotional and secular, many of them made for the court at Urbino. One
such is a small panel painting, St George Slaying the Dragon (c. 1505, National
Gallery of Art, Washington, D.C.); it seems to be connected with Guidobaldo
da Montefeltro's election to the Order of the Garter in 1504 and is remarkable
for its miniature precision and the knowledge of the work of the Flemish painter
Han Memling that it displays. Raphael's earliest large-scale paintings were
executed in Citta di Castello, which was a day's ride from Urbino. Works
such as the Sposalizio (or Marriage of the Virgin) (1504, Brera, Milan) and
the Coronation of the Virgin (c. 1503, Vatican Museum, Rome) demonstrate Perugino's
influence in their static composition and sweet figure style. Although intentionally
similar in composition to earlier works by Perugino, Raphael's paintings already
possessed a dynamic spatial quality that is lacking in the former's work, and
his consummate technical mastery and idealizing imagination led to his working
in competition with his former master on altarpieces in Perugia, for instance
the Ansidei Altarpiece (1505, National Gallery, London) made for Bernardino
Ansidei for the chapel of St Nicholas of Bari in the Servite church of San Fiorenzo.
Raphael's visit to Florence in about 1504 seems to have been motivated by his
desire to see the work of Michelangelo and Leonardo da Vinci, perhaps in order
to improve his skills in areas such as anatomy and perspective, where he was
still inexpert. He did not settle there but visited frequently between 1504
and 1508. His work during these years was extremely varied in nature and scale,
ranging from the series of madonnas he painted for individuals, such as the
Small Cowper Madonna (c. 1505, National Gallery of Art, Washington, D.C.) to
the large-scale religious works commissioned for churches, such as The Entombment
(1507, Borghese Gallery, Rome).
Raphael's style developed fully during the years 1504-1508. He lost Perugino's
air of sweetness and developed a bolder, more monumental manner that was partly
inspired by the works of Fra Bartolommeo. While his madonnas were idealized
portraits of tranquil women, he also painted real sitters; in La Muta (c. 1507,
Ducal Palace, Urbino), the subject's finger extends to press against the picture
frame, creating an arresting and original pictorial device that reinforces the
analogy that a painting is akin to a window.
During his period in Florence, Raphael was influenced by the pyramidal compositions
of Leonardo, as can be seen in La Belle Jardinière (c. 1507, Musée
du Louvre, Paris). This is one of a series of paintings of the Virgin and Child,
often with St John the Baptist, in an outdoor setting. Leonardo's influence
is also apparent in the Bridgewater Madonna (c. 1507, Duke of Sutherland Collection,
on loan to National Gallery of Scotland); here, the Virgin's sweetly smiling
expression and contraposto (twisted) pose are derived from Leonardo, while the
pose of the Infant Jesus is derived from Michelangelo.
In 1508 Raphael was summoned to Rome by Pope Julius II in order to decorate
a suite of offical rooms in the Vatican known as the Stanze. He started with
the Stanza della Segnatura, the office in which documents were sealed, producing
a series of frescos concerned with different aspects of the human intellect.
The most famous of these, the School of Athens (1509-1511), represents groups
of Greek philosophers in a monumental Classical setting. Despite the great number
and variety of figures, the painting has a remarkably balanced, unified composition,
dominated by the eloquently gesturing figures of Plato and Aristotle in the
centre. The other frescos in the Stanza, representing theology, poetry, and
law, have a similarly harmonious quality, which also characterizes the Stanza
dell'Eliodoro (1511-1514). This was followed by two further rooms, which were
mostly executed by Raphael's assistants, in particular Giulio Romano, who were
also responsible for painting the Vatican Loggie, completed in 1519. During
this period Raphael also produced a series of cartoons (1515-1516, Royal Collection,
on loan to the Victoria and Albert Museum, London) for tapestries that were
to be hung in the Sistine Chapel. These memorable compositions, representing
scenes from the lives of St Peter and St Paul, were to be enormously influential
on later artists.
As well as working for the papacy, Raphael also received important commissions
from private patrons, in particular the banker Agostino Chigi, for whom he decorated
two chapels, at Santa Maria della Pace (c. 1512-1513) and Santa Maria del Popolo
(1516). For Chigi he also adorned the Villa Farnesina with sensual mythological
frescos depicting Galatea (c. 1511) and scenes from the story of Cupid and Psyche
(1516-1517), the latter painted so as to create a trompe l'oeil effect of tapestries
suspended overhead. Raphael's interiors were profoundly influenced by the grotesque
style of ornamentation inside the Domus Aurea, the recently excavated palace
of the Roman emperor Nero. This is particularly apparent in the stuccoed loggia
of the Villa Madama, built by Raphael for Cardinal Giulio de' Medici (begun
c. 1518). Raphael also experimented with profuse decoration on an exterior in
the (now destroyed) Palazzo Branconio dell'Aquila. Such works contrast greatly
with the austere beauty of Sant'Eligio degli Orefici, a small church, in the
form of a domed Greek cross, which was designed by Raphael and (probably) Bramante
around 1509. While the church's lucid geometrical structure and restrained decoration
typify the High Renaissance, the later buildings clearly anticipate the complexity
of Mannerism. During this period Raphael also produced memorable works on panel
and canvas, including a number of portraits: these included a remarkably frank
depiction of the aged Pope Julius II (c. 1511, National Gallery, London), as
well as Pope Leo X and Two Cardinals (c. 1519, Uffizi, Florence) and the nobleman
Baldassare Castiglione (c. 1516, Musée du Louvre, Paris). Raphael also
executed a number of extraordinary altarpieces, including the celebrated Sistine
Madonna (c. 1513, Gemaldegalerie, Dresden), a magnificent image of the
Virgin and Child appearing among radiant clouds, above two of the most engaging
putti (cherubs) in Renaissance art. Equally extraordinary is The Transfiguration
(1517-1520, Vatican, Rome), completed by Giulio Romano after Raphael's death,
which greatly influenced the crowded, dynamic compositions of later Mannerist
painters.
Raphael's death in Rome on April 6, 1520, cut short an immensely successful
and productive career. His work exemplifies the confidence and originality of
the High Renaissance. Like Michelangelo, he produced works of supreme harmony
and grandeur, while also on occasion introducing qualities that would later
be associated with Mannerism. Through the engravings of Marcantonio Raimondi,
his compositions became widely known throughout his lifetime, and his influence
on academic painters in subsequent centuries was inestimable.