Raphael was born on April 6, 1483 in Urbino in the Marche region. In 1491 when Raphael was eight, his mother died. Bette Talvacchia, author of Raphael cites that not much is known about Raphael’s personal life because he kept to himself about many things, but many historians believe that his personal life is portrayed through his paintings (8). Richard Cocke, author of The Complete Paintings of Raphael states that at the age of seventeen Raphael began to gain popularity as an artist and was, at that time, first commissioned as an artist (Cocke 83). Raphael was known for his historical paintings, such as The School of Athens, the way he painted the nude, and his amazing ability to make colors look vivid using oil paint (Cocke 5). Historical paintings are a type of painting genera that focuses on the story line rather that one specific moment, as in a portrait. Also, when painting with oil paint, it is difficult to make colors bright, so Raphael excelled at that. One of Raphael’s styles that he used was idealization rather than realism. Richard Cocke notes that “Raphael himself wrote to his friend Castiglione in 1514 about the problem of painting a beautiful woman: “I use a certain idea, which comes into my mind.” (5) Also, many of Raphael’s self-portraits show him dressed up as an elegant man rather than an artist, leading some to believe that he did not want to be viewed as an artist (Talvacchia 8). Raphael has an amazing ability to keep his artwork well balanced and organized (Talvacchia 8). Bette Talvacchia discusses:
One of Raphael’s primary contributions to painting was to perfect the unison of classicizing technique with the tenets of naturalism. When composing a figure, for example, he referred to the visual evi...
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... century. It is a constant invitation to think, reflect, and grow in knowledge.
Works Cited
Bell, Daniel O. "New Identifications in Raphael's School of Athens." The Art Bulletin 77.4 Dec. (1995): 643. Google Scholar . Web. 24 Apr. 2012.
Cocke, Richard. The Complete Paintings of Raphael. N.p.: Harry N. Abrams, Inc., 1966. 5-102. Print.
Hall, Marcia, ed. Raphael's School of Athens. Cambridge: Cambridge University Press, 1997. 42. Print.
Kahn, Charles H. The Art and Thought of Heraclitus. Cambridge: Cambridge University Press, 1979. 2. Google Scholar . Web. 17 May 2012.
Matthews, Roy T., F D. Platt, and F X. Noble. The Western Humanities. 7th ed. New York: McGraw Hill, 2011. 346-55. Print.
Sandbach, F H. The Stoics. 2nd ed. Bedminister: The Bristol Press, 1989. 14. Print.
Talvacchia, Bette. Raphael. New York: Phaidon Press Limited, 2007. 8-90. Print.
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
Onians, John. Art and Thought in the Hellenistic Age: The Greek World View 350-50 B.C. London: Thames and Hudson, Ltd., 1979.
In Titus Livius’, The Early History of Rome, Livy takes on the task of documenting Rome’s early history and some of the famous individuals who help contribute to the ‘greatness’ of Rome. Livy dedicates an entire portion of his writing to describe the reigns of the first seven kings of Rome; all who influence the formation and governance of Rome in some way. However, of the seven kings in early Roman history, King Romulus and King Numa Pompilius achieved godlike worship and high esteem from their fellow Romans. While both highly important and respected figures in Rome’s history, the personalities and achievements of King Romulus and King Numa Pompilius are complete opposites of one another. Despite the differences found in each king and of their rule over Rome, both Romulus and Numa Pompilius have a tremendous influence in the prosperity and expansion of Rome in its early days.
Literature of the Western World, Volume 2. 4th edition by Brian Wilkie and James Hurt. Upper Saddle River, NJ: Prentice-Hall, Inc., 1997.
The School of Athens (Figure 1) is a fresco painting–a painting done in sections in the fresh plaster–on one of the four walls of the room, the Stanza della Segnatura this room is designated as papal library in the Vatican palace. In this image Raphael represents pictorially the intellectual activity of philosophy. He chooses to represent philosophy by depicting a large number of philosophers in the midst of their activities. The fifty-eight figures who occupy the grandiose architectural space are depicted in the midst of their activity: they are questioning, arguing, demonstrating, reading, and writing. Each figure is characterized so that it is not a mere compositional device, but a shorthand statement of the figure represented (Murray, 62). Raphael rendered the faces of the philosophers from classical statues if known, or else used his own contemporaries for models (Haas, 8)
Raphael’s style was extremely similar to that of his master Perugino as they both used thick paint and a varnish that would cause the finished piece to crack ("Raphael Sanzio). His early artistic style was a synthesis of the achievements of the previous Italian generation such as Pinturicchio, one of Perugino’s assistants, and Perugino. Between 1504 and 1508, he primarily spent his time in Florence, where he was extremely influenced by the works of one of the fathers of the Renaissance, Leonardo da Vinci. Raphael’s artistic process greatly changed after contacting Da Vinci as he started drawing many sketches before creating his artworks rather than attempting a complete artwork from the first time. This allowed him to draw compositions, which incorporated an extra dimension of complexity and overall unity. Raphael’s art would become a lot more refined and focused as he would adapt his new found style by depicting
Raphael was born Raffaello Santi or Raffaello Sanzio in Urbino on April 6, 1483, and received his early training in art from his father, the painter Giovanni Santi. In 1499 he went to Perugia, in Umbria, and became a student and assistant of the painter Perugino. Raphael imitated his master closely; their paintings of this period are executed in styles so similar that art historians have found it difficult to determine which were painted by Raphael. In 1504 Raphael moved to Florence, where he studied the work of such established painters of the time as Leonardo da Vinci and Michelangelo, learning their methods of representing the play of light and shade, anatomy, and dramatic action. In 1508 Raphael was called to Rome by Pope Julius II and commissioned to execute frescoes in four small stanze, or rooms, of the Vatican Palace. The second Vatican chamber, the Stanza d'Eliodoro, painted with the aid of Raphael's assistants, contains scenes representing the triumph of the Roman Catholic church over its enemies.
Raphael’s mother died when he was eight years old. His father died when he was eleven. When Raphael was 16, he started an apprentice job under Umbrian master, Pietro Perugino. By 1501, he was ready and was considered a master artists. His first painting was called Baronci Altarpiece for the St. Nicholas of Tolentino in 1502. In 1508 Raphael moved to Rome and lived there the rest of his life.
Raphael Sanzio was born in Urbino, Italy on either March 28th, or April 6th 1483 to Magia Di Battista Ciarla and Giovanni Santi. His father Giovanni was a court painter to the Duke of Urbino. Both of Raphael’s parents died by the time he was 11. However, his father had already arranged that Raphael become an apprentice to Pietro Perugino. Raphael absorbed a huge amount from Perugino, and used many of the techniques that he learned from his teacher throughout his lifetime.
Raphael was born on April 6 1483 in the small town of Urbino Italy. At age 8 rapheal was sent away by his father to be an apprentice of a master artist. Sadly he had to quickly return home do to his mothers death. Tragedy struck him once again when he was orphaned at age 11. From then on out he lived either with his widowed step mom or with a master whom which trained him. 1 of his masters, Vasari stated that"probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did". In 1500 he was commissioned to his first art piece, he painted the Baronci altarpiece in the church of Saint Nicholas of Tolentino in Città di Castello. In the following years he also painted for other churches, including the "Mond Crucifixion" (about 1503) and the Brera Wedding of the Virgin (1504). In 1508 rapheal moved to rome where he lived the rest of his life.
Raphael. Madonna del Granduca. 1505. Oil on wood. 33 in. x 22 in. Palazzo Pitti, Florence.
Rosetti’s age did not appreciate his art because they thought that the style Raphael established was the crowning of all paintings. This style was based on dark colours, artificial settings and a triangle composition. Rosetti wanted to free ...
The School of Athens, by Raphael, is one of the most well known paintings of the Italian renaissance, finished around 1511. It is a fresco, painted directly on to the walls of rooms in the Vatican Palace that would later be named after Raphael. Physically, The School of Athens is one painting of three representing philosophy, one of the main themes of the renaissance—the other two being literature and theology. The three paintings combine for one gramd image.
Starting in the 13th century, art was beginning to accelerate to a much higher level of in terms of quality and craft. Artists during medieval times were not so much interested in the human body. They tended not to worry on being naturalistic. Their work depended simply on quality. When the Renaissance came about, artists now became more characteristically inclined with realism. Before the Renaissance, style had aimed for a rich, glowing surface, with elaborate linear designs. Soon after, figures were then being portrayed and painted with a sense of depth, their volume represented by a careful use of light and dark, so that they took on the same strength and presence as works of sculpture (Cunningham 242). Instead of just being c...
Raffaello Sanzio da Urbino was an Italian painter and architect of the High Renaissance. His work is mostly admired for his clarity of form, ease of compositing, and visual achievement of the ideal human. Many of Raphael work are found in the Vatican Palace, which is right next to the Sistine Chapels, most of the frescoed, are in Raphael Rooms, which is the central, and the largest works of his career. The School of Athens, the title is actually a later invention, this magnificent painting was design as a tribute to the achievements of earthy learning. At the heart of the composition stand Plato and Aristotle, the most celebrated of all the Greek sages. Plato holds a copy of his Timaeus and points upward, to signify his preoccupation with celestial matters. His companion and pupil, meanwhile, also carries one of his on works, the Ethnics, and gestures before him, to demonstrate his concern for the material world. Many believe that Plato is generally regarded to be likeness of Leonardo da Vinci. Around these two philosophers, other master explains their theories to eager students. On the left you see Socrates present an argument to a small group of listens, counting off the points on his fingers. Below him, Pythagoras demonstrates one of his mathematical theories. In the center, the old man sprawled on the stairs is Diogenes the Cynic, while the mathematicians Euclid and Ptolemy can be seen on the far right. Euclid, who reaches down to a slate with a pair of dividers as he explains the principles of geometry to those gathered around him, but if you look right behind him, there is a self-portrait of Raphael among the youthful figures. Joining these figures are some of Raphael’s own contemporaries. Such as the man in the middle looking at his book, some say is Michelangelo, if you close enough you will realize that no one is making eye contact or talking to