Raphael Sanzio Bronze Art a Person Who Invented a New Device in the Renaissance

16th-century Italian painter and architect

Raphael
Presumed portrait of Raphael^[1]
Born	Raffaello Santi (or Sanzio) March 28 or April 6, 1483 Urbino, Duchy of Urbino
Died	April 6, 1520 (anile 37) Rome, Papal States
Resting place	The Pantheon, Rome
Known for	Painting Architecture
Notable work	Raphael Rooms Sistine Madonna Transfiguration
Move	Loftier Renaissance
Parent(south)	Giovanni Santi Màgia

Raffaello Sanzio da Urbino ^[a] (Italian: [raffaˈɛllo ˈsantsjo da urˈbiːno]; March 28 or April 6, 1483 – Apr 6, 1520),^[two] ^[b] known mononymously equally Raphael,^[c] was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of limerick, and visual achievement of the Neoplatonic ideal of human being grandeur.^[4] Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of groovy masters of that menstruation.^[5]

Raphael was enormously productive, running an unusually large workshop and, despite his early expiry at 37, leaving a big trunk of work. His career falls naturally into three phases and 3 styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the creative traditions of Florence, followed past his terminal hectic and triumphant twelve years in Rome, working for 2 popes and their shut associates.^[half-dozen] Many of his works are institute in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome, much of his piece of work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though exterior Rome his piece of work was mostly known from his collaborative printmaking.

After his death, the influence of his keen rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more than serene and harmonious qualities were again regarded every bit the highest models. Thanks to the influence of art historian Johann Joachim Winckelmann his work became a determinative influence on Neoclassical painting, but his techniques would later exist explicitly and emphatically rejected past groups such as the Pre-Raphaelite Alliance.

His father was court painter to the ruler of the minor simply highly cultured city of Urbino. He died when Raphael was eleven, and Raphael seems to have played a part in managing the family workshop from this betoken. He trained in the workshop of Perugino, and was described every bit a fully trained "master" by 1500. He worked in or for several cities in n Italy until in 1508 he moved to Rome at the invitation of the pope, to work on the Vatican Palace. He was given a serial of important commissions there and elsewhere in the urban center, and began to work as an architect. He was even so at the elevation of his powers at his death in 1520.

Background

Giovanni Santi, Raphael'southward father; Christ supported by two angels, c.1490

Raphael was born in the small but artistically significant central Italian metropolis of Urbino in the Marche region,^[7] where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by Pope Sixtus IV – Urbino formed part of the Papal States – and who died the year earlier Raphael was born. The emphasis of Federico'southward court was more literary than creative, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to demonstrate awareness of the most advanced North Italian painters, and Early Netherlandish artists likewise. In the very minor court of Urbino he was probably more than integrated into the central circumvolve of the ruling family unit than most courtroom painters.^[eight]

Federico was succeeded past his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most bright of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary civilization. Growing up in the circumvolve of this small court gave Raphael the excellent manners and social skills stressed past Vasari.^[9] Court life in Urbino at only afterwards this period was to become fix as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based at that place but often visited, and they became good friends. Raphael became close to other regular visitors to the courtroom: Pietro Bibbiena and Pietro Bembo, both after cardinals, were already becoming well known as writers, and would after be in Rome during Raphael'due south catamenia there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to requite a misleading impression of effortlessness to his career. He did not receive a total humanistic education however; it is unclear how easily he read Latin.^[ten]

Early life and work

Raphael's mother Màgia died in 1491 when he was eight, followed on August 1, 1494, by his begetter, who had already remarried. Raphael was thus orphaned at xi; his formal guardian became his but paternal uncle Bartolomeo, a priest, who after engaged in litigation with his stepmother. He probably connected to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great assist to his begetter".^[11] A self-portrait drawing from his teenage years shows his precocity.^[12] His male parent's workshop continued and, probably together with his stepmother, Raphael evidently played a office in managing it from a very early on historic period. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello.^[thirteen]

According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an amateur "despite the tears of his mother".^[d] The show of an apprenticeship comes merely from Vasari and another source,^[15] and has been disputed; 8 was very early on for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.^[sixteen] Nigh modern historians agree that Raphael at least worked as an banana to Perugino from effectually 1500; the influence of Perugino on Raphael'due south early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master'due south teaching as Raphael did", according to Wölfflin.^[17] Vasari wrote that it was impossible to distinguish betwixt their hands at this menstruum, but many modern art historians merits to do better and detect his hand in specific areas of works past Perugino or his workshop. Autonomously from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, only very thinly on flesh areas. An excess of resin in the varnish often causes nifty of areas of paint in the works of both masters.^[eighteen] The Perugino workshop was active in both Perugia and Florence, possibly maintaining two permanent branches.^[19] Raphael is described as a "master", that is to say fully trained, in December 1500.^[20]

His offset documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a boondocks halfway between Perugia and Urbino.^[21] Evangelista da Pian di Meleto, who had worked for his father, was also named in the committee. Information technology was commissioned in 1500 and finished in 1501; now only some cutting sections and a preparatory drawing remain.^[22] In the following years he painted works for other churches there, including the Mond Crucifixion (well-nigh 1503) and the Brera Nuptials of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many modest and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the 3 Graces and St. Michael, and he began to paint Madonnas and portraits.^[23] In 1502 he went to Siena at the invitation of some other pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to exist a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral.^[24] He was evidently already much in demand even at this early stage in his career.^[25]

Saint George and the Dragon, a small work (29 x 21 cm) for the court of Urbino (Louvre)

Influence of Florence

Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good bargain of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine menses" of about 1504–1508, he was maybe never a continuous resident at that place.^[26] He may accept needed to visit the urban center to secure materials in whatever case. In that location is a letter of recommendation of Raphael, dated October 1504, from the mother of the next Duke of Urbino to the Gonfaloniere of Florence: "The bearer of this will exist found to be Raphael, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father was most worthy and I was very fastened to him, and the son is a sensible and well-mannered young human, on both accounts, I bear him bully love..."^[27]

As before with Perugino and others, Raphael was able to assimilate the influence of Florentine fine art, whilst keeping his own developing fashion. Frescos in Perugia of well-nigh 1505 testify a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the metropolis from 1500 to 1506. Raphael's figures begin to take more dynamic and circuitous positions, and though equally notwithstanding his painted subjects are still mostly tranquil, he fabricated drawn studies of fighting nude men, one of the obsessions of the menses in Florence. Another drawing is a portrait of a immature woman that uses the iii-quarter length pyramidal composition of the just-completed Mona Lisa, just still looks completely Raphaelesque. Another of Leonardo'south compositional inventions, the pyramidal Holy Family, was repeated in a series of works that remain amid his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost Leda and the Swan, from which he adapted the contrapposto pose of his own Saint Catherine of Alexandria.^[28] He besides perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of mankind, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. Just he keeps the soft clear low-cal of Perugino in his paintings.^[29]

Leonardo was more than than xxx years older than Raphael, just Michelangelo, who was in Rome for this period, was only eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike Raphael even more, attributing conspiracies confronting him to the younger human.^[30] Raphael would accept been aware of his works in Florence, but in his most original work of these years, he strikes out in a different direction. His Deposition of Christ draws on classical sarcophagi to spread the figures beyond the front of the picture space in a complex and not wholly successful system. Wöllflin detects in the kneeling figure on the right the influence of the Madonna in Michelangelo's Doni Tondo, only the rest of the composition is far removed from his style, or that of Leonardo. Though highly regarded at the time, and much later forcibly removed from Perugia past the Borghese, it stands rather solitary in Raphael'southward work. His classicism would subsequently take a less literal management.^[31]

The Madonna of the Meadow, c. 1506, using Leonardo'due south pyramidal composition for subjects of the Holy Family.^[32]

Roman period

Vatican "Stanze"

In 1508, Raphael moved to Rome, where he resided for the remainder of his life. He was invited by the new pope, Julius Ii, peradventure at the suggestion of his architect Donato Bramante, then engaged on St. Peter's Basilica, who came from just outside Urbino and was distantly related to Raphael.^[33] Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons,^[34] Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the Vatican Palace.^[35] This was a much larger and more important commission than whatever he had received before; he had only painted i altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was adamant to efface from the palace.^[36] Michelangelo, meanwhile, had been deputed to paint the Sistine Chapel ceiling.^[37]

This first of the famous "Stanze" or "Raphael Rooms" to exist painted, now known as the Stanza della Segnatura after its utilise in Vasari'southward time, was to make a stunning touch on Roman art, and remains generally regarded as his greatest masterpiece, containing The Schoolhouse of Athens, The Parnassus and the Disputa. Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of 3 rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop squad he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The expiry of Julius in 1513 did not interrupt the work at all, every bit he was succeeded by Raphael's terminal pope, the Medici Pope Leo X, with whom Raphael formed an fifty-fifty closer relationship, and who connected to committee him.^[38] Raphael's friend Fundamental Bibbiena was also one of Leo's one-time tutors, and a close friend and advisor.

Raphael was clearly influenced past Michelangelo's Sistine Chapel ceiling in the class of painting the room. Vasari said Bramante let him in secretly. The first section was completed in 1511 and the reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian fine art for the following few decades. Raphael, who had already shown his gift for absorbing influences into his ain personal style, rose to the challenge peradventure improve than whatsoever other artist. One of the first and clearest instances was the portrait in The School of Athens of Michelangelo himself, as Heraclitus, which seems to describe clearly from the Sybils and ignudi of the Sistine ceiling. Other figures in that and later paintings in the room bear witness the same influences, but as still cohesive with a development of Raphael's own style.^[39] Michelangelo accused Raphael of plagiarism and years after Raphael's death, complained in a letter that "everything he knew nearly art he got from me", although other quotations show more generous reactions.^[40]

These very large and complex compositions accept been regarded e'er since as among the supreme works of the k manner of the Loftier Renaissance, and the "archetype art" of the postal service-antiquarian W. They give a highly idealised depiction of the forms represented, and the compositions, though very carefully conceived in drawings, achieve "sprezzatura", a term invented by his friend Castiglione, who defined information technology as "a certain nonchalance which conceals all artistry and makes whatever one says or does seem uncontrived and effortless ...".^[41] Co-ordinate to Michael Levey, "Raphael gives his [figures] a superhuman clarity and grace in a universe of Euclidian certainties".^[42] The painting is almost all of the highest quality in the commencement two rooms, only the later compositions in the Stanze, peculiarly those involving dramatic activity, are not entirely every bit successful either in formulation or their execution by the workshop.

Architecture

After Bramante'south decease in 1514, Raphael was named architect of the new St Peter'due south. Near of his piece of work at that place was contradistinct or demolished after his death and the credence of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good bargain gloomier than the last pattern, with massive piers all the style downwards the nave, "like an aisle" according to a critical posthumous analysis by Antonio da Sangallo the Younger. It would perhaps have resembled the temple in the background of The Expulsion of Heliodorus from the Temple.^[43]

He designed several other buildings, and for a brusque fourth dimension was the nearly important architect in Rome, working for a small circumvolve effectually the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with fantabulous palaces.^[44]

An important building, the Palazzo Branconio dell'Aquila for Leo's Papal Chamberlain Giovanni Battista Branconio, was completely destroyed to make way for Bernini's piazza for St. Peter's, but drawings of the façade and courtyard remain. The façade was an unusually richly decorated i for the menstruation, including both painted panels on the pinnacle story (of three), and much sculpture on the middle one.^[45]

The main designs for the Villa Farnesina were not by Raphael, but he did design, and decorate with mosaics, the Chigi Chapel for the same patron, Agostino Chigi, the Papal Treasurer. Some other building, for Pope Leo'southward doctor, the Palazzo Jacopo da Brescia, was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time.^[46]

The Villa Madama, a lavish hillside retreat for Cardinal Giulio de' Medici, later Pope Clement Vii, was never finished, and his full plans have to exist reconstructed speculatively. He produced a design from which the concluding construction plans were completed by Antonio da Sangallo the Younger. Fifty-fifty incomplete, it was the nearly sophisticated villa pattern even so seen in Italy, and greatly influenced the later development of the genre; it appears to be the only mod building in Rome of which Palladio made a measured cartoon.^[47]

Just some floor-plans remain for a large palace planned for himself on the new via Giulia in the rione of Regola, for which he was accumulating the land in his terminal years. It was on an irregular island cake nearly the river Tiber. It seems all façades were to have a giant social club of pilasters ascent at least ii storeys to the total summit of the piano nobile, "a grandiloquent characteristic unprecedented in private palace design".^[48]

Raphael asked Marco Fabio Calvo to translate Vitruvius'south Four Books of Architecture into Italian; this he received effectually the end of August 1514. It is preserved at the Library in Munich with handwritten margin notes by Raphael.^[49]

Antiquity

In near 1510, Raphael was asked by Bramante to judge gimmicky copies of Laocoön and His Sons.^[50] In 1515, he was given powers as Prefect over all antiquities unearthed within, or a mile outside the metropolis.^[51] Anyone excavating antiquities was required to inform Raphael within three days, and stonemasons were not allowed to destroy inscriptions without permission.^[52] Raphael wrote a letter of the alphabet to Pope Leo suggesting means of halting the destruction of aboriginal monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The pope intended to continue to re-use ancient masonry in the edifice of St Peter'southward, as well wanting to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to exist reused.^[51]

According to Marino Sanuto the Younger's diary, in 1519 Raphael offered to transport an obelisk from the Mausoleum of Baronial to St. Peter's Square for 90,000 ducats.^[53] According to Marcantonio Michiel, Raphael's "youthful decease saddened men of messages because he was not able to furnish the description and the painting of ancient Rome that he was making, which was very cute".^[54] Raphael intended to make an archaeological map of ancient Rome but this was never executed.^[55] 4 archaeological drawings past the creative person are preserved.^[56]

Other painting projects

The Vatican projects took well-nigh of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor Leo Ten, the sometime considered one of his finest. Other portraits were of his ain friends, like Castiglione, or the firsthand Papal circle. Other rulers pressed for piece of work, and Male monarch Francis I of France was sent two paintings as diplomatic gifts from the Pope.^[57] For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the Triumph of Galatea and designed further decorative frescoes for his Villa Farnesina, a chapel in the church of Santa Maria della Pace and mosaics in the funerary chapel in Santa Maria del Popolo. He as well designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.

One of his about important papal commissions was the Raphael Cartoons (now in the Victoria and Albert Museum), a series of ten cartoons, of which seven survive, for tapestries with scenes of the lives of Saint Paul and Saint Peter, for the Sistine Chapel. The cartoons were sent to Brussels to be woven in the workshop of Pier van Aelst. Information technology is possible that Raphael saw the finished series before his decease—they were probably completed in 1520.^[58] He also designed and painted the Loggie at the Vatican, a long thin gallery then open to a courtyard on ane side, decorated with Roman-style grottesche.^[59] He produced a number of significant altarpieces, including The Ecstasy of St. Cecilia and the Sistine Madonna. His final piece of work, on which he was working up to his expiry, was a large Transfiguration, which together with Il Spasimo shows the direction his art was taking in his final years—more proto-Bizarre than Mannerist.^[60]

Painting materials

Raphael painted several of his works on wood support (Madonna of the Pinks) only he too used canvas (Sistine Madonna) and he was known to apply drying oils such as linseed or walnut oils. His palette was rich and he used almost all of the and so available pigments such as ultramarine, lead-tin-yellowish, cherry, vermilion, madder lake, verdigris and ochres. In several of his paintings (Ansidei Madonna) he even employed the rare brazilwood lake, metallic powdered gold and even less known metallic powdered bismuth.^[61] ^[62]

Workshop

Vasari says that Raphael somewhen had a workshop of 50 pupils and administration, many of whom subsequently became significant artists in their own correct. This was arguably the largest workshop squad assembled under any unmarried former master painter, and much college than the norm. They included established masters from other parts of Italy, probably working with their own teams every bit sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to assign to a particular mitt.^[63]

The most important figures were Giulio Romano, a young pupil from Rome (only nigh twenty-one at Raphael's death), and Gianfrancesco Penni, already a Florentine master. They were left many of Raphael's drawings and other possessions, and to some extent continued the workshop after Raphael's death. Penni did not achieve a personal reputation equal to Giulio'southward, as later Raphael's death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career. Perino del Vaga, already a principal, and Polidoro da Caravaggio, who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right. Polidoro'south partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation past his partner. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the primary frescoes.^[64] Most of the artists were later scattered, and some killed, past the violent Sack of Rome in 1527.^[65] This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond.

Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants—a dissimilarity with the stormy pattern of Michelangelo'southward relationships with both.^[66] All the same though both Penni and Giulio were sufficiently skilled that distinguishing betwixt their hands and that of Raphael himself is still sometimes hard,^[67] there is no doubt that many of Raphael's later wall-paintings, and probably some of his easel paintings, are more than notable for their design than their execution. Many of his portraits, if in good status, show his brilliance in the detailed handling of paint right up to the end of his life.^[68]

Other pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter), and the sculptor and architect Lorenzetto (Giulio's brother-in-law).^[69] The printmakers and architects in Raphael's circumvolve are discussed below. It has been claimed the Flemish Bernard van Orley worked for Raphael for a time, and Luca Penni, blood brother of Gianfrancesco and later a fellow member of the Start School of Fontainebleau, may have been a member of the team.^[seventy]

Portraits

Drawings

Lucretia, engraved by Raimondi after a cartoon by Raphael^[71]

Raphael was one of the finest draftsmen in the history of Western art, and used drawings extensively to program his compositions. Co-ordinate to a most-contemporary, when commencement to plan a limerick, he would lay out a big number of stock drawings of his on the floor, and begin to draw "speedily", borrowing figures from here and in that location.^[72] Over twoscore sketches survive for the Disputa in the Stanze, and there may well have been many more than originally; over 4 hundred sheets survive altogether.^[73] He used different drawings to refine his poses and compositions, evidently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how Raphael himself, who was and then rich in inventiveness, used to piece of work, always coming up with iv or six ways to prove a narrative, each one different from the rest, and all of them full of grace and well washed." wrote some other writer afterward his death.^[74] For John Shearman, Raphael's art marks "a shift of resource abroad from production to research and development".^[75]

When a final composition was accomplished, scaled-up full-size cartoons were oftentimes made, which were and so pricked with a pin and "pounced" with a bag of soot to get out dotted lines on the surface as a guide. He also fabricated unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave merely an indentation, but no mark. These can be seen on the wall in The School of Athens, and in the originals of many drawings.^[76] The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers.

In later works painted by the workshop, the drawings are often painfully more attractive than the paintings.^[77] Virtually Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and afterward working drawings often have a loftier caste of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo'southward and Michelangelo'southward sketches, but are virtually always aesthetically very satisfying. He was one of the last artists to utilize metalpoint (literally a sharp pointed piece of silver or another metallic) extensively, although he as well made superb use of the freer medium of red or black chalk.^[78] In his final years he was ane of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes.^[79]

Young Man Carrying an Old Man on His Back, c. 1514
Study for La Belle Jardinière
Nude Studies, 1515
Marriage of Alexander and Roxana. Report for Villa Farnesina
Developing the composition for a Madonna and Kid

Printmaking

Raphael made no prints himself, only entered into a collaboration with Marcantonio Raimondi to produce engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was of import in the rise of the reproductive print. His interest was unusual in such a major creative person; from his contemporaries it was simply shared by Titian, who had worked much less successfully with Raimondi.^[80] A total of about 50 prints were made; some were copies of Raphael'due south paintings, but other designs were evidently created by Raphael purely to be turned into prints. Raphael fabricated preparatory drawings, many of which survive, for Raimondi to translate into engraving.^[81]

The most famous original prints to result from the collaboration were Lucretia, the Judgement of Paris and The Massacre of the Innocents (of which 2 almost identical versions were engraved). Among prints of the paintings The Parnassus (with considerable differences)^[82] and Galatea were also especially well known. Exterior Italy, reproductive prints by Raimondi and others were the master way that Raphael'due south art was experienced until the twentieth century. Baviero Carocci, chosen "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his coin,^[83] ended up in control of most of the copper plates subsequently Raphael's death, and had a successful career in the new occupation of a publisher of prints.^[84]

The Massacre of the Innocents, engraving by Marcantonio Raimondi from a design by Raphael.^[e] First country, "without fir tree"

Private life and death

From 1517 until his expiry, Raphael lived in the Palazzo Caprini, lying at the corner between piazza Scossacavalli and via Alessandrina in the Borgo, in rather grand style in a palace designed by Bramante.^[85] He never married, simply in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena'south niece; he seems to have been talked into this by his friend the primal, and his lack of enthusiasm seems to be shown past the marriage not having taken place before she died in 1520.^[86] He is said to accept had many affairs, but a permanent fixture in his life in Rome was "La Fornarina", Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio.^[87] He was made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and besides a knight of the Papal Society of the Gilt Spur. Vasari claims that he had toyed with the ambition of becoming a cardinal, perhaps after some encouragement from Leo, which as well may account for his delaying his union.^[86]

Raphael died on Adept Fri (Apr 6, 1520), which was possibly his 37th birthday.^[f] Vasari says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28,^[g] and that the artist died from exhaustion brought on by unceasing romantic interests while he was working on the Loggia.^[89] Several other possibilities for his death have been raised past subsequently historians and scientists,^[h] such equally a combination of an communicable diseases and bloodletting.^[90] In his acute illness, which lasted 15 days, Raphael was composed enough to confess his sins, receive the concluding rites, and put his diplomacy in order. He dictated his will, in which he left sufficient funds for his mistress'southward care, entrusted to his loyal retainer Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the Pantheon.^[91]

Raphael's funeral was extremely k, attended by big crowds. According to a journal by Paris de Grassis,^[i] four cardinals dressed in purple carried his torso, the hand of which was kissed by the Pope.^[92] The inscription in Raphael'south marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Here lies that famous Raphael past whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."^[j]

Cocky-portraits
Probable self-portrait drawing by Raphael in his teens

Disquisitional reception

Raphael was highly admired by his contemporaries, although his influence on creative way in his own century was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque, took art "in a direction totally opposed" to Raphael'southward qualities;^[93] "with Raphael's expiry, classic art—the High Renaissance—subsided", as Walter Friedländer put it.^[94] He was soon seen every bit the ideal model by those disliking the excesses of Mannerism:

the opinion ...was generally held in the middle of the sixteenth century that Raphael was the ideal counterbalanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more than bright than whatever other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in sure qualities, such equally grace and restraint, essential to the great artist. Those, similar Dolce and Aretino, who held this view were ordinarily the survivors of Renaissance Humanism, unable to follow Michelangelo as he moved on into Mannerism.^[95]

Vasari himself, despite his hero remaining Michelangelo, came to run across his influence equally harmful in some ways, and added passages to the 2d edition of the Lives expressing similar views.^[96]

Raphael'due south compositions were e'er admired and studied, and became the cornerstone of the preparation of the Academies of art. His period of greatest influence was from the late 17th to tardily 19th centuries, when his perfect decorum and residuum were greatly admired. He was seen as the best model for the history painting, regarded as the highest in the hierarchy of genres. Sir Joshua Reynolds in his Discourses praised his "unproblematic, grave, and majestic nobility" and said he "stands in general foremost of the start [i.e., best] painters", specially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention. He did not possess and then many excellences as Raffaelle, merely those he had were of the highest kind..." Echoing the sixteenth-century views above, Reynolds goes on to say of Raphael:

The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of gustatory modality, and the proficient accommodation of other men's conceptions to his own purpose. Nobody excelled him in that judgment, with which he united to his own observations on nature the free energy of Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the starting time rank, Raffaelle or Michael Angelo, it must exist answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than whatever other man, at that place is no doubt but Raffaelle is the showtime. Only if, according to Longinus, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other dazzler, and atones for all other deficiencies, then Michael Angelo demands the preference.^[97]

Reynolds was less enthusiastic virtually Raphael'southward panel paintings, but the slight sentimentality of these made them enormously pop in the 19th century: "We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the globe has ever had..." wrote Wölfflin, who was born in 1862, of Raphael's Madonnas.^[98]

In Frg, Raphael had an immense influence on religious art of the Nazarene movement and Düsseldorf school of painting in the 19th century. In contrast, in England the Pre-Raphaelite Brotherhood explicitly reacted against his influence (and that of his admirers such equally Joshua Reynolds), seeking to return to styles that pre-dated what they saw every bit his baneful influence. According to a critic whose ideas greatly influenced them, John Ruskin:

The doom of the arts of Europe went forth from that chamber [the Stanza della Segnatura], and it was brought about in peachy part by the very excellencies of the man who had thus marked the commencement of decline. The perfection of execution and the beauty of feature which were attained in his works, and in those of his great contemporaries, rendered finish of execution and beauty of course the main objects of all artists; and thenceforward execution was looked for rather than thought, and dazzler rather than veracity.

And equally I told y'all, these are the two secondary causes of the decline of art; the first being the loss of moral purpose. Pray note them clearly. In mediæval art, thought is the showtime thing, execution the 2nd; in modernistic art execution is the first thing, and thought the 2d. And again, in mediæval art, truth is first, beauty 2nd; in modern art, dazzler is start, truth second. The mediæval principles led upward to Raphael, and the modern principles atomic number 82 downward from him.^[99]

Past 1900, Raphael's popularity was surpassed past Michelangelo and Leonardo, perhaps as a reaction confronting the etiolated Raphaelism of 19th-century bookish artists such as Bouguereau.^[100] Although art historian Bernard Berenson in 1952 termed Raphael the "most famous and most loved" master of the High Renaissance,^[101] art historians Leopold and Helen Ettlinger say that Raphael's lesser popularity in the 20th century is made obvious by "the contents of art library shelves ... In dissimilarity to book upon volume that reproduce yet again detailed photographs of the Sistine Ceiling or Leonardo'southward drawings, the literature on Raphael, particularly in English language, is express to merely a few books".^[100] They conclude, nonetheless, that "of all the great Renaissance masters, Raphael's influence is the most continuous."^[102]

Run into also

List of paintings by Raphael
Domenico Alfani, a close friend of Raphael whose paintings take frequently been mistaken for those of the amend-known artist

Notes

Footnotes

^ Variants too include Raffaello Santi, Raffaello da Urbino, Rafael Sanzio da Urbino, or Raphael Sanzio. The surname Sanzio derives from the latinization of the Italian Santi into Santius. He normally signed documents equally Raphael Urbinas – a latinized form. Gould:207
^ He is said to have been born on Proficient Friday (March 28, 1483), but is stated to have been born on the same appointment every bit his death on the inscription of his tomb (he died three hours after the Ave Maria of Skilful Friday). Both nascency dates cannot be true.^[3]
^ ,
^ After a visit to Verrocchio's workshop, Santi recorded that both Perugino and Leonardo da Vinci were present, and seems to have viewed them equally existence at an equivalent skill level. Subsequently Leonardo left for Milan, Santi chose Perugino from i of two available artists to teach his son.^[14]
^ The bridge in the background is the Pons Fabricius.^[56]
^ Raphael's age at expiry is debated by some, with Michiel asserting that Raphael died at 34, while Pandolfo Pico and Girolamo Lippomano arguing that he died at 33.^[88]
^ Whereas Michiel said he died on his birthday. Fine art historian John Shearman addressed this apparent discrepancy: "The time of decease can be calculated from the convention of counting from sundown, which Michaelis puts at 6.36 on Fri six April, plus one-half-an-60 minutes to Ave Maria, plus three hours, that is, soon later ten.00 pm. The coincidence noted betwixt the birth-appointment and death-engagement is usually thought in this case (since it refers to the Friday and Sabbatum in Holy Week, the movable feast rather than the twenty-four hours of the month) to fortify the argument that Raphael was also born on Practiced Friday, i.e., 28 March 1483. Simply there is a notable ambiguity in Michiel'south note, not oft noticed: Morse ... Venerdi Santo venendo il Sabato, giorno della sua Nativita, may also be taken to hateful that his altogether was on Saturday, and in that case the awareness could as well exist the appointment, thus producing a birth-engagement of vii April 1483."^[88]
^ Bufarale (1915) "diagnosed pneumonia or a armed services fever" while Portigliotti suggested pulmonary disease. Joannides stated that "Raphael died of over-work."^[88]
^ Cited by Jean-Yard.-Vincent Audin, although there is some uncertainty as to the journal'southward being.^[92]
^ The original (in Latin): "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori".

Citations

^ Jones and Penny, p. 171. The portrait of Raphael is probably "a later accommodation of the one likeness which all agree on": that in The School of Athens, vouched for past Vasari.
^ Jones and Penny, p. 1 and 246.
^ Salmi et al. 1969, pp. 585, 597.
^ On Neoplatonism, see Affiliate 4, "The Existent and the Imaginary" Archived Dec sixteen, 2018, at the Wayback Motorcar, in Kleinbub, Christian G., Vision and the Visionary in Raphael, 2011, Penn State Press, ISBN 978-0271037042
^ See, for example Honour, Hugh; Fleming, John (1982). A World History of Art. London: Macmillan Reference Books. p. 357. ISBN978-0333235836. OCLC 8828368.
^ Vasari, pp. 208, 230 and passim.
^ Osborne, June. Urbino: The Story of a Renaissance Urban center. p. 39 on the population, every bit a "few thou" at most; even today it is simply 15,000 without the students of the University.
^ Jones and Penny, pp. ane–two
^ Vasari:207 & passim
^ Jones & Penny:204
^ Vasari, at the outset of the Life. Jones & Penny:5
^ Ashmolean Museum "Image". z.most.com. Archived from the original on December 2, 2007.
^ Jones and Penny: 4–5, 8 and 20
^ Salmi et al. 1969, pp. 11–12.
^ Simone Fornari in 1549–50, run into Gould:207
^ Jones & Penny:eight
^ contrasting him with Leonardo and Michelangelo in this respect. Wölfflin:73
^ Jones and Penny:17
^ Jones & Penny:2–5
^ Ettlinger & Ettlinger:xix
^ Ettlinger & Ettlinger:twenty
^ It was later seriously damaged during an earthquake in 1789.
^ Jones and Penny:five–8
^ One surviving preparatory drawing appears to be more often than not by Raphael; quotation from Vasari by – Jones and Penny:20
^ Ettlinger & Ettlinger:25–27
^ Gould:207–08
^ Jones and Penny:v
^ National Gallery, London Jones & Penny:44
^ Jones & Penny:21–45
^ Vasari, Michelangelo:251
^ Jones & Penny:44–47, and Wöllflin:79–82
^ "Paradigm". szepmuveszeti.hu. Archived from the original on March 14, 2012.
^ Jones & Penny:49, differing somewhat from Gould:208 on the timing of his arrival
^ Vasari:247
^ Julius was no great reader—an inventory compiled subsequently his death has a total of 220 books, large for the time, simply hardly requiring such a receptacle. There was no room for bookcases on the walls, which were in cases in the centre of the floor, destroyed in the 1527 Sack of Rome. Jones & Penny:4952
^ Jones & Penny:49
^ Graham-Dixon, Andrew (2008). Michelangelo and the Sistine Chapel. London: Weidenfeld & Nicolson. ISBN9781602393684 . Retrieved January 10, 2021.
^ Jones & Penny:49–128
^ Jones & Penny:101–05
^ Edgeless:76, Jones & Penny:103–05
^ Volume of the Courtier 1:26 The whole passage Archived December 24, 2007, at the Wayback Automobile
^ Levey, Michael; Early Renaissance, p. 197 ,1967, Penguin
^ Jones & Penny:215–xviii
^ Jones & Penny:210–11
^ Jones & Penny:221–22
^ Jones & Penny:219–20
^ Jones and Penny:226–34; Raphael left a long alphabetic character describing his intentions to the Cardinal, reprinted in total on pp. 247–48
^ Jones & Penny:224–26 (quotation)
^ Salmi et al. 1969, pp. 572–73, 588.
^ Salmi et al. 1969, p. 110.
^ ^a ^b Jones & Penny:205 The letter may date from 1519, or before his appointment
^ Salmi et al. 1969, p. 582.
^ Salmi et al. 1969, pp. 569, 582.
^ Salmi et al. 1969, p. 570.
^ Salmi et al. 1969, p. 574.
^ ^a ^b Salmi et al. 1969, p. 579.
^ One, a portrait of Joanna of Aragon, Queen consort of Naples, for which Raphael sent an banana to Naples to make a drawing, and probably left virtually of the painting to the workshop. Jones & Penny:163
^ Jones & Penny:133–47
^ Jones & Penny:192–97
^ Jones & Penny:235–46, though the relationship of Raphael to Mannerism, similar the definition of Mannerism itself, is much debated. Meet Craig Hugh Smyth, Mannerism & Maniera, 1992, IRSA Vienna, ISBN three-900731-33-0
^ Roy, A., Spring, Chiliad., Plazzotta, C. 'Raphael'due south Early Piece of work in the National Gallery: Paintings before Rome'. National Gallery Technical Bulletin Vol. 25, pp. 4–35
^ Italian painters Archived March 15, 2016, at the Wayback Machine at ColourLex
^ Jones and Penny:146–47, 196–97; and Pon:82–85
^ Jones and Penny:147, 196
^ Vasari, Life of Polidoro online in English Archived April 17, 2008, at the Wayback Automobile Maturino for one is never heard of once again
^ Vasari:207 & 231
^ Run into for example, the Raphael Cartoons
^ Jones & Penny:163–67 and passim
^ The direct transmission of training can be traced to some surprising figures, including Brian Eno, Tom Phillips and Frank Auerbach
^ Vasari (full text in Italian) pp. 197–98 & passim Archived December 24, 2007, at the Wayback Motorcar; see also Getty Union Artist Proper name Listing Archived December eleven, 2007, at the Wayback Machine entries
^ "Lucretia". Metropolitan Museum of Art. Archived from the original on April 29, 2008. Retrieved Baronial 26, 2010.
^ Giovanni Battista Armenini (1533–1609) De vera precetti della pittura(1587), quoted Pon:115
^ Jones & Penny:58 & ff; 400 from Pon:114
^ Ludovico Dolce (1508–1568), from his L'Aretino of 1557, quoted Pon:114
^ quoted Pon:114, from lecture on The Organization of Raphael'south Workshop, pub. Chicago, 1983
^ Non surprisingly, photographs do not show these well, if at all. Leonardo sometimes used a blind stylus to outline his final choice from a tangle of different outlines in the same drawing. Pon:106–110.
^ Lucy Whitaker, Martin Clayton, The Art of Italy in the Majestic Collection; Renaissance and Bizarre, p. 84, Royal Drove Publications, 2007, ISBN 978-i-902163-29-1
^ Pon:104
^ National Galleries of Scotland Archived May 31, 2012, at the Wayback Machine
^ Pon:102. See also a lengthy analysis in: Landau:118 ff
^ The enigmatic relationship is discussed at length by both Landau and Pon in her Chapters 3 and iv.
^ Pon:86–87 lists them
^ "Il Baviera" may mean "the Bavarian"; if he was German, as many artists in Rome were, this would have been helpful during the 1527 Sack; Marcantonio had many printing-plates looted from him. Jones and Penny:82, meet besides Vasari
^ Pon:95–136 & passim; Landau:118–60, and passim
^ Gigli (1992), p. 46
^ ^a ^b Vasari:230–31
^ Art historians and doctors debate whether the right paw on the left chest in La Fornarina reveal a cancerous breast tumour detailed and disguised in a classic pose of beloved. "The Portrait of Chest Cancer and Raphael's La Fornarina", The Lancet, December 21–28, 2002.
^ ^a ^b ^c Shearman: 573.
^ Salmi et al. 1969, p. 598.
^ Riva, Michele Augusto; Paladino, Maria Emilia; Motta, Marco; Belingheri, Michael (Jan i, 2021). "The death of Raphael: a reflection on bloodletting in the Renaissance". Internal and Emergency Medicine. 16 (ane): 243–244. doi:10.1007/s11739-020-02435-8. ISSN 1970-9366. PMID 32666175. S2CID 220528453.
^ Vasari:231
^ ^a ^b Salmi et al. 1969, pp. 598–99.
^ Chastel André, Italian Art, p. 230, 1963, Faber
^ Walter Friedländer, Mannerism and Anti-Mannerism in Italian Painting, p. 42 (Schocken 1970 edn.), 1957, Columbia UP
^ Blunt:76
^ Meet Jones & Penny:102–04
^ The 1772 Discourse Online text of Reynold's Discourses Archived 2007-02-27 at the Wayback Machine The whole passage is worth reading.
^ Wölfflin:82,
^ John Ruskin (1853), Pre-Raphaelitism, p. 127 online at Project Gutenburg Archived 2008-12-26 at the Wayback Auto
^ ^a ^b Ettlinger & Ettlinger:eleven
^ Berenson, Bernard, Italian Painters of the renaissance, Vol 2 Florentine and Fundamental Italian Schools, Phaidon 1952 (refs to 1968 ed), p. 94
^ Ettlinger & Ettlinger:230

References

Blunt, Anthony, Creative Theory in Italia, 1450–1660, 1940 (refs to 1985 edn), OUP, ISBN 0-19-881050-4
Gould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, ISBN 0-947645-22-five
Ettlinger, Leopold D., and Helen Southward. Ettlinger, Raphael, Oxford: Phaidon, 1987, ISBN 0714823031
Roger Jones and Nicholas Penny, Raphael, Yale, 1983, ISBN 0-300-03061-four
Landau, David in:David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, ISBN 0-300-06883-2
Pon, Lisa, Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Impress, 2004, Yale Upward, ISBN 978-0-300-09680-iv
Salmi, Mario; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe; Becatti, Giovanni; Castagnoli, Ferdinando; Golzio, Vincenzo (1969). The Consummate Work of Raphael. New York: Reynal and Co., William Morrow and Company.
Shearman, John; Raphael in Early Modern Sources 1483–1602, 2003, Yale Academy Press, ISBN 0-300-09918-5
Vasari, Life of Raphael from the Lives of the Artists, edition used: Artists of the Renaissance selected & ed Malcolm Bull, Penguin 1965 (page nos from BCA edn, 1979)
Wölfflin, Heinrich; Archetype Art; An Introduction to the Renaissance, 1952 in English (1968 edition), Phaidon, New York.
Gigli, Laura (1992). Guide rionali di Roma (in Italian). Vol. Borgo (Two). Roma: Fratelli Palombi Editori. ISSN 0393-2710.

External links

Wikiquote has quotations related to: Raphael

120 artworks by or after Raphael at the Art Uk site
Raphael Research Resource from the National Gallery, London
Five&A London online feature on the Raphael Cartoons
Ten drawings and three paintings from the Regal Collection
Spider web Gallery of Art
Most of the Raphael/Raimondi prints from the San Francisco Museums
Raphael Project/Raffael Projekt
Website of Teylers Museum on the provenance of the Raphael drawings in the museum's drove.
Birthplace Museum of Raphael, Urbino, on the Artist's Studio Museum Network website
Mobilier national (France) drove of tapestries
Raphael Santi at ColourLex.
Raphael at the National Gallery of Art
Guide to the Raphael Spurious Letters undated at the Academy of Chicago Special Collections Research Centre

parkhimparienge.blogspot.com

Source: https://en.wikipedia.org/wiki/Raphael