Raphael Special Topics 397

Madonna of the Meadow

1505-1506. Pyramidal composition picked up by Raphael. Unlike Leonardo, however, Raphael used a lighter color palette that was more in keeping with the palette used by his teacher, Perugino. Attention to the color of shapes and color. Integration into space, not standing in front of but integrating them within the space. "Scrumato" FOG has been brightened.

Portraits of Agnelo Doni and Maddalena Strozzi

1506. Emplementing the science of color. Building the structures through shapes of color. Juxtaposition of color that creates visual effects. Experimentation with colors.

Leda and The Swan (after Leonardo da Vinci) 2nd Version

1506. Oil on panel. Influenced after da Vinci's version. However, in Raphael's version, Leda is less embracive of the swan.

School of Athens, Stanza della Segnatura

1509-10, The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing Philosophy, was probably the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).[1] The picture has long been seen as "Raphael's masterpiece and the perfect embodiment of the classical spirit of the Renaissance".[2] The painting is notable for its accurate perspective projection.[3]

Stanza della Segnatura paranassus

1510-1511, Rome he whole room shows the four areas of human knowledge: philosophy, religion, poetry and law, with The Parnassus representing poetry. The fresco shows the mythological Mount Parnassus where Apollo dwells; he is in the centre playing an instrument (a contemporary lira da braccio rather than a classical lyre), surrounded by the nine muses, nine poets from antiquity, and nine contemporary poets. Apollo, along with Calliope, the muse of epic poetry, inspired poets.[3][4] Raphael used the face of Laocoön from the classical sculpture Laocoön and His Sons, excavated in 1506 and also in the Vatican for his Homer (in dark blue robe to the left of centre), expressing blindness rather than pain.[5] Two of the female figures in the fresco have been said to be reminiscent of Michelangelo's Creation of Adam, Euterpe and Sappho, who is named on a scroll she holds.[6] Sappho is the only female poet shown, presumably identified so that she is not confused with a muse; she is a late addition who does not appear in the print by Marcantonio Raimondi that records a drawing for the fresco. The window below the fresco Parnassus frames the view of Mons Vaticanus, believed to be sacred to Apollo. Humanists, such as Biondo, Vegio, and Albertini, refer to the ancient-sun god of the Vatican.[4] Gallery, The first of Pope Julius II's rooms in the papal appartments to be decorated with Raphael's frescoes was the study in which the "Signatura gratiae" tribunal was originally located (Stanza della Segnatura). The artist's concept brings into harmony the spirits of Antiquity and Christianity. The humanist quadripartition of culture - theology, philosophy, poetry and justice - has a parallel in the four elements making up the universe: air, water, fire and earth. Each of these is represented by an allegorical painting on the walls of this room: the Disputation of the Holy Sacrament, the School of Athens, the Parnassus and the Virtues (Fortitude, Prudence, Temperance), respectively. The first composition Raphael executed in 1509 is the so-called Disputa or Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. Toward the end of 1509, Raphael began work on the wall opposite the Disputa. This second fresco, entitled the School of Athens, represents the truth acquired through reason. Raphael began the third composition at the end of 1509 or the beginning of 1510. It represents Parnassus, the dwelling place of Apollo and the Muses and the home of poetry, according to classical myth. The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511.

the nymph galatea mural fresco

1511-1512, he Triumph of Galatea is a fresco completed about 1514 by the Italian painter Raphael for the Villa Farnesina in Rome.[1] The Farnesina was built for the Sienese banker Agostino Chigi, one of the richest men of that age. The Farnese family later acquired and renamed the villa, smaller than the more ostentatious palazzo at the other side of the Tiber. The fresco is a mythological scene of a series embellishing the open gallery of the building, a series never completed which was inspired to the "Stanze per la giostra" of the poet Angelo Poliziano. In Greek mythology, the beautiful Nereid Galatea had fallen in love with the peasant shepherd Acis. Her consort, one-eyed giant Polyphemus, after chancing upon the two lovers together, lobbed an enormous pillar and killed Acis - Sebastiano del Piombo produced a fresco of Polyphemus next to Raphael's work. Raphael did not paint any of the main events of the story. He chose the scene of the nymph's apotheosis (Stanze, I, 118-119). Galatea appears surrounded by other sea creatures whose forms are somewhat inspired by Michelangelo,[citation needed] whereas the bright colors and decoration are supposed to be inspired by ancient Roman painting. At the left, a Triton (partly man, partly fish) abducts a sea nymph; behind them, another Triton uses a shell as a trumpet. Galatea rides a shell-chariot drawn by two dolphins. While some have seen in the model for Galatea the image of the courtesan, Imperia, Agostino Chigi's lover and Raphael's near-contemporary, Giorgio Vasari wrote that Raphael did not mean for Galatea to resemble any one human person, but to represent ideal beauty.[citation needed] When asked where he had found a model of such beauty, Raphael reportedly said that he had used "a certain idea" he had formed in his mind.[1][2] External video Raphael, Galatea, at Khan Academy. In a letter to Baldassare Castiglione, Raphael dictated via Pietro Aretino, that "to paint a beauty, I should have to see a number of beauties, provided Your Lordship were with me to choose the best. But in the absence of good judges and beautiful forms, I use an idea that comes to my mind."[3]

Portrait of Pope Julius II

1511. Rome, Vatican Court/Aristocratic Commissions. The portrait of Pope Julius II was unusual for its time and would carry a long influence on papal portraiture. From early in its life, it was specially hung at the pillars of the church of Santa Maria del Popolo, on the main route from the north into Rome, on feast and high holy days. Giorgio Vasari, writing long after Julius' death, said that "it was so lifelike and true it frightened everyone who saw it, as if it were the living man himself".[1] The presentation of the subject was unusual for its time. Previous Papal portraits showed them frontally, or kneeling in profile. It was also "exceptional" at this period to show the sitter so evidently in a particular mood - here lost in thought.[2] The intimacy of this image was unprecedented in Papal portraiture, but became the model, "what became virtually a formula", followed by most future painters, including Sebastiano del Piombo and Diego Velázquez.[3] The painting "established a type for papal portraits that endured for about two centuries, The painting can be dated to between June 1511 and March 1512, when Julius let his beard grow as a sign of mourning for the loss in war of the city of Bologna

Sistine Madonna

1512-14. Rome, Vatican Court/Aristocratic Commissions, Madonna, also called the Madonna di San Sisto, is an oil painting by the Italian artist Raphael. The painting was commissioned in 1512 by Pope Julius II for the church of San Sisto, Piacenza. The canvas was one of the last Madonnas painted by Raphael. Giorgio Vasari called it "a truly rare and extraordinary work".[1], The painting was commissioned by Pope Julius II[9][10] in honor of his late uncle, Pope Sixtus IV, as an altarpiece for the basilica church of the Benedictine Monastery of San Sisto in Piacenza, with which the Rovere family had a long-standing relationship.[11] The commission required that the painting depict both Saints Sixtus and Barbara.[6] Legend has it that when Antonio da Correggio first laid eyes on the piece, he was inspired to cry, "And I also, I am a painter!"[12], A prominent element within the painting, the winged angels beneath Mary are famous in their own right. As early as 1913 Gustav Kobbé declared that "no cherub or group of cherubs is so famous as the two that lean on the altar top indicated at the very bottom of the picture."[36] Heavily marketed, they have been featured in stamps, postcards, T-shirts, socks[37], and wrapping paper.[38] These cherubim have inspired legends of their own. According to a 1912 article in Fra Magazine, when Raphael was painting the Madonna the children of his model would come in to watch. Struck by their posture as they did, the story goes, he added them to the painting exactly as he saw them.[39] Another story, recounted in 1912's St. Nicholas Magazine, says that Raphael rather was inspired by two children he encountered on the street when he saw them "looking wistfully into the window of a baker's shop."[40]

The Liberation of Saint Peter, Stanza dell'Incendio

1512-1513 Rome. The Liberation of Saint Peter is a fresco painting by the Italian High Renaissance artist Raphael[1]. It was painted in 1514 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple. The painting shows how Saint Peter was liberated from Herod's prison by an angel, as described in Acts 12. It is technically an overdoor. The fresco shows three scenes in symmetrical balance formed by the feigned architecture and stairs. In the centre the angel wakes Peter, and on the right guides him past the sleeping guards. On the left side one guard has apparently noticed the light generated by the angel and wakes a comrade, pointing up to the miraculously illumined cell. This adds drama to the serene exit of Peter at the right. The Liberation of St Peter shows the prince of the apostles and first Pope, miraculously saved from prison by an angel while the guards lie sleeping (Acts of the Apostles 12: 5-12). The scene is a reference to Julius II (pontiff from 1503 to 1513), who before being elected Pope was the titular cardinal of St Peter in Chains. In the celebration of light Raphael confronts the divine light of the angel with that of the dawn, of the moon, of the torches and of their reflections on the armour, and even of the natural light that enters from the window below, creating the most extraordinary effects.

Marcantonio Raimondi, Apollo on Paranassus

1515-1518 Rome Raphael's 'Parnassus' in the Vatican is the paradigmatic representation of the subject where Apollo on Parnassus is surrounded by the muses and famous poets, from which all later versions drew inspiration. Since the room in which it was painted, the Stanza della Segnatura (thought to have been the private library of Pope Julius II r. 1503-13) was not publicly accessible until well into the seventeenth century, it was Marcantonio's print that established its canonical status. Numerous differences between the engraving and the completed fresco, however, indicate that the engraving records an early idea for the composition based on a lost drawing by Raphael.hile Marcantonio Raimondi was sued by Albrecht Dürer for illegally copying his woodcuts, he worked directly with Raphael to create printed versions of the master's paintings and drawings for dissemination. The fresco of Apollo on Parnassus would have been inaccessible even to buyers who could afford this large print, as it was in Pope Julius II's personal library in the Vatican. The engraving explicitly mentions this; the inscription on the doorway beneath the painting reads Raphael Pinxit in Vaticano, MAF, Although we do not know exactly when Raphael first started working with Marcantonio Raimondi, it appears to have been around 1510, and by 1511 they were collaborating on a steady basis. Raphael handed over finished drawings in pen and ink or chalk to Marcantonio for use as his compositional sources. The engraving Apollo on the Parnassus was taken from a 'discarded' composition for the Parnassus fresco in the Stanza della Segnatura in the Vatican.

The Healing of the Lame Man cartoon

1515-16 gouache on paper. Raphael's cartoons are the earliest surviving examples of tapestry cartoons on paper, it took Raphael and his workshop a little more than a year to complete the ten cartoons commissioned by Pope Leo X Medici for the tapestries of the Sistine Chapel. The cost for Raphael's cartoons and the weaving of the ten tapestries was 16.000 ducats, more than five times the amount paid to Michelangelo for painting the Sistine Chapel ceiling. he Raphael Cartoons are a set of seven full-scale designs for tapestry painted by Raphael (1483 - 1520), and are considered one of the greatest treasures of the Renaissance. They were commissioned in 1515 by Pope Leo X for the Vatican's Sistine Chapel and depict the lives of the apostles Saint Peter and Saint Paul - Fathers of the Christian church. The Cartoons have been on loan to the V&A from Her Majesty The Queen since 1865. In this cartoon Peter heals a lame man at the Beautiful Gate of the Temple in Jerusalem, a miracle which symbolises Peter's conversion, or spiritual healing, of the Jews. The twisted columns are based on antique examples in St. Peter's, then thought to have come from Soloman's Temple in Jerusalem.

Christ's Charge to Peter cartoon

1515-16. The Raphael cartoons are designs for tapestries and were commissioned from Raphael by Pope Leo X (1513-21) in 1515. The tapestries were intended to hang in the Sistine Chapel in Rome, built by one of Leo's predecessors Pope Sixtus IV (1471-84). The Chapel was primarily intended for the use of the Pope and the Papal chapel, the body of clergy and Laity immediately surrounding him. The decoration of the chapel under Sixtus dealt largely with the theme of the Pope's authority. The tapestries continued this theme, illustrating scenes from the lives of St. Peter and St. Paul who were seen as the founders of the Christian Church, and the sources of the Pope's authority and power. They had in addition woven borders showing scenes from Leo's life, also designed by Raphael: the cartoons for these have not survived. This cartoon is a scene from after the Resurrection, when Christ charges Peter with the care of the faithful, symbolised by the sheep, and gives him the keys to the Gates of Heaven. Because of his superior faith, Peter is made the foundation stone of the Church, and Christ's successor on earth.

Portrait of Baldassare Castiglione

1515. Rome, Vatican Court/Aristocratic Commissions. raphael knew him from urbino. minimalist, stripped down to bare essentially, minimal color. Simplified everything. Outift, as a loyalist, as an ally. Portrait of Baldassare Castiglione is a c. 1514-1515 oil painting attributed to the Italian High Renaissance painter Raphael. Considered one of the great portraits of the Renaissance, it has an enduring influence. It depicts Raphael's friend, the diplomat and humanist Baldassare Castiglione, who is considered a quintessential example of the High Renaissance gentleman. The portrait was produced as a result of Raphael's friendship with Castiglione, whose ascent in courtly circles paralleled that of the artist. They were close friends by 1504, when Castiglione made his second visit to Urbino, as Raphael was gaining recognition as an artist in the humanist circle of the city's ducal court.[1] Raphael was commissioned by Guidobaldo da Montefeltro in 1505 to paint a picture for Henry VII; Castiglione traveled to England to present the finished painting to the king.[1] It is possible that Castiglione later served as a "scholarly advisor" for Raphael's The School of Athens, and that the depiction of Zoroaster in that fresco may be a portrait of the courtier.[1] Portrait of Baldassare Castiglione may have had a practical and intimate purpose. Castiglione left his family behind when he went to Rome, and he wrote a poem in which he imagined his wife and son consoling themselves with the picture during his absence.[2] The composition is pyramidal. It's one of only two Raphael's paintings on canvas (it was considered before as originally painted on a wood panel, and later transferred to canvas[3]). Copies produced in the 17th century show Castiglione's hands in full, suggesting that the picture was subsequently cut by several inches at the bottom[3] (at a later date researchers determined it has not been cut). Castiglione is seated against an earth-toned background and wears a dark doublet with a trim of squirrel fur and black ribbon; on his head is a turban topped by a notched beret.[4] The attire indicates that this was painted during the winter, likely that of 1514-1515, when Castiglione was in Rome by appointment of Guidobaldo da Montefeltro to Pope Leo X.[4] The lightest areas are the subject's face seen nearly head-on, a billow of white shirt front at his chest, and his folded hands, which are mostly cropped at the bottom edge of the canvas. Castiglione is seen as vulnerable, possessing a humane sensitivity characteristic of Raphael's later portraits.[5] The soft contours of his clothing and rounded beard express the subtlety of the subject's personality. In his The Book of the Courtier Castiglione argued on behalf of the cultivation of fine manners and dress.[5] He popularized the term sprezzatura, which translates roughly to "nonchalant mastery", an ideal of effortless grace befitting a man of culture. The concept eventually found its way into English literature, in the plays of Ben Jonson and William Shakespeare.[6] The picture's elegance of execution is consistent with the attitude of the subject.[7] Art historian Lawrence Gowing noted the counter-intuitive handling of gray velvet (actually a fur) as contrary to an academic modeling of form, with the broad surfaces banked in rich darkness and the fabric shining most brightly as it turns away from the light.[7] For Gowing, "The picture has the subtlety of baroque observation but the stillness and noble contour of classic painting at its peak."[7] The portrait's composition and atmospheric quality suggest an homage to the Mona Lisa, which Raphael would have seen in Rome.[4] Yet the Castiglione portrait transcends questions of influence; art historian James Beck wrote that "The Portrait of Baldassare Castiglione stands as a final solution for single male portraiture within the Renaissance style...."[8] Notwithstanding shifts in the critical appraisal of Raphael's work, the painting has enjoyed consistent admiration from other artists.[7] Titian was strongly influenced by this portrait, and may have first viewed it in Castiglione's home in Mantua.[2][7] The Venetian master's Portrait of a Man (Tommaso Mosti?) is generally seen as owing a strong compositional debt to Raphael's painting, and also reflects Castiglione's influential advice regarding the restrained elegance of attire recommended for courtiers.[2][9][10] In 1639 Rembrandt drew a sketch of the painting while it was being auctioned in Amsterdam,[11] and subsequently referenced the composition in several self-portraits. A copy of the painting, now in the Courtauld Institute of Art, was painted by Peter Paul Rubens. Both Rembrandt's and Rubens's versions display Baroque flourish, quite different from the original painting's sober restraint.[3] In the 19th century Jean Auguste Dominique Ingres chose a frame for his Portrait of Monsieur Bertin much like that which adorned Raphael's painting, perhaps indicating Ingres's ambitions, while also underscoring the paintings' similarities of coloration and extraordinary illusionism.[12] At the turn of the 20th century Henri Matisse copied the painting, and Paul Cézanne exclaimed of Raphael's portrait: "How well rounded the forehead is, with all the distinct planes. How well balanced the patches in the unity of the whole...."[7] Now in the Louvre, the painting was acquired by Louis XIV in 1661 from the heirs of Cardinal Mazarin.[7]

Stanza dell'Incendio: The Fire In The Borgo

1516-17 Rome. The Fire in the Borgo is a painting created by the workshop of the Italian Renaissance artist Raphael between 1514 and 1517.[1] Though it is assumed that Raphael did make the designs for the complex composition, the fresco was most likely painted by his assistant Giulio Romano. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It depicts Pope Leo IV halting a fire in 847 with a benediction from a balcony in front of the Old St. Peter's Basilica.[1] The mural lends its name to the Stanza dell'incendio del Borgo ("The Room of the Fire in the Borgo"). he best of the frescoes depicts the Borgo Fire, which swept the neighborhood around the Vatican in AD 847 and was extinguished only when Pope Leo IV hurled a blessing at it from his window in the background. The setting, though, is classical, showing Aeneas carrying his jaundiced father Anchises and leading his son Ascanius as they escape the fall of Troy (eventually, according to Virgil, Aeneas will make it the village started by Romulus and found the city of Rome). Although pupils like Giulio Romano painted most of this fresco, some experts see the master's hand at work in the surprised woman carrying a jug on her head and possibly in the Aeneas group.

The Feast of the Gods, Ceiling fresco in the loggia of villa farnesina

1517-18. ften the occasion shown was specifically either the wedding of Cupid and Psyche or that of Peleus and Thetis, but other works show other occasions, especially the Feast of Bacchus, or a generalized feast. In 1517 Agostino Chigi commissioned Raphael to decorate the ground floor loggia of the villa in which the artist had painted the Galatea a few years before. The frescoes represent the Story of Psyche, a myth derived from the Golden Ass of Apuleius (2nd century A. D.). The cycle of pictures appears only on the ceiling. Although the preparatory drawings and the general conception of the stories are by Raphael, the bulk of the painting was carried out by his pupils, notably Giovanni da Udine (who painted the rich plant festoons of the frame) with the collaboration of Giulio Romano, Raffaellino del Colle and Gianfrancesco Penni. In 1517 Raphael returned to the Villa to decorate the airy entrance loggia, at the time open to the outside world, as an extension of the surrounding leafy gardens. Love was in the air - Chigi was finally preparing to marry his mistress Francesca, and wanted decorations to reflect the prevailing mood of nuptial celebration. And so Raphael and his greatest pupils Giulio Romano, Giovan Francesco Penni and Giovanni da Udine came up with an elaborate fresco cycle depicting Lucius Apuleius' ancient tale of Cupid and Psyche, the star-crossed lovers, one mortal and one divine, whose travails in pursuit of love ultimately lead to their being welcomed into the ranks of the Gods in the celestial sphere. The story goes that Venus, goddess of love, was jealous of the human princess Psyche, whose worldly beauty was such that it was upstaging her own. She commanded her son Cupid to ensure that Psyche falls in love with a hideous man, but Cupid is predictably smitten with her himself. Furious, Venus then proceeds to persecute Psyche all along the walls of the loggia, tasking her with impossible trials as the beautiful gods cavort naked amongst festoons of flowers and some extremely suggestive fruits. The tale finally reaches a happy resolution in the two massive scenes on the ceiling - in one the gods convene a council where Jupiter takes pity on Cupid and orders Venus to cease her persecution of Psyche, whilst on the left the two lovers are finally wed in a magnificent banquet that obviously foreshadowed the upcoming wedding feast of Chigi and Francesca.

Raphael with Giulio Romano, The Holy Family of King Loggia of Villa Farnesina

1518

Portrait of Pope Leo X with Two Cardinals

1518, Rome, Vatican Court/Aristocratic Commissions, The Portrait of Pope Leo X with two Cardinals is a painting by the Italian High Renaissance master Raphael, c. 1517. It is housed in the Uffizi Gallery of Florence. In contrast to works depicting classical, idealised Madonnas and figures from antiquity, this portrait shows the sitter in a realistic manner. The Pope is depicted with the weight of late middle age, while his sight appears to be strained. The painting sets up a series of visual contradictions between appearance and reality, intended by Raphael to reflect the unrest of a period of turmoil for the papacy. Martin Luther had recently challenged papal authority,[1] listing among other grievances, Leo X's method of selling indulgences to fund work on St Peter's. The pommel on top of the Pope's chair evokes the symbolic abacus balls of the Medici family, while the illuminated Bible open on the table has been identified as the Hamilton Bible.[2] The cardinals are usually identified as Giulio di Giuliano de' Medici and Luigi de' Rossi.[3]

The Death of Ananias, tapestry

1519. The Raphael cartoons are designs for tapestries and were commissioned from Raphael by Pope Leo X (1513-21) in 1515. The tapestries were intended to hang in the Sistine Chapel in Rome, built by one of Leo's predecessors Pope Sixtus IV (1471-84). The Chapel was primarily intended for the use of the Pope and the Papal chapel, the body of clergy and Laity immediately surrounding him. The decoration of the chapel under Sixtus dealt largely with the theme of the Pope's authority. The tapestries continued this theme, illustrating scenes from the lives of St. Peter and St. Paul who were seen as the founders of the Christian Church, and the sources of the Pope's authority and power. They had in addition woven borders showing scenes from Leo's life, also designed by Raphael: the cartoons for these have not survived. Deep borders made to look like bronze reliefs, displaying five events from Pope Leo's life and five from the life of St Paul, were added to the bottom of the tapestry set. It was noted that in such scenes as the Healing of the Lame Man and the Death of Ananias Raphael has paid homage to Masaccio's cycle of St Peter in the Brancacci Chapel, Florence, particularly in the massing of figures and in their eloquent gestures.

Saint George Slaying the Dragon 1506 Oil on Panel

2nd version painted in Florence. we know this because it is modeled after a predella at Orsanmichele. Proof that he learned from studying 3D sculptures.

Self Portrait ca. 1506. Oils on panel. Florence Periods.

Done in Florence after being introduced by DaVinci. Implementation of movement. Same outfit as the Duke of Urbino portrait, as a message, a point of bonding, friendship, and loyalty. "I am the Duke's friend". Male bonding.

Tapestry Set for Sistine Chapel, The Death of Ananias cartoon

Goauche on paper, 1515-56, Ananias falling to the ground in left foreground, dying of shock when accused of fraud by St Peter, who gestures to the crowd on a raised platform in the centre, with other apostles; astonished onlookers to either side and to the left a landscape visible through a window; after Raphael.Ananias was a wealthy man who had withheld some of the proceeds from the sale of his properties, (the Apostles had been on a mission to persuade people of great wealth to distribute the sale of lands and property to the poor). Peter publicly rebukes Ananias who falls down dying in full view of the assembled crowd of onlookers while on the left of the cartoon the Apostles give alms to the needy. On the far right of the painting Ananias' wife Sapphira, (depicted in a green gown), counts coins, a product of her own embezzlement, is oblivious to her husband's fate. Three hours later she too is struck down dead. The wider message is clear, do not steal from Church funds, The figure of Ananias is probably by Raphael but several of the other characters have been completed by members of his workshop, notably the recoiling man has been attributed to Raphael's assistant Giulio Romano.

An allegory vision of a knight 1504 oil on panel

It could be part of a set with the Three Graces. Looks French and courtly compared to the classicism of three graces. Hue oriented. Accommodating an interest in life studies and painting. Building forms with the color.

object d'art

Item of artistic value

The Baglioni Entombment of Christ, 1507, Oil on Panel

Part of an alterpiece. Included a predella featuring the image Faith Hope and Charity. destined for the Church of S. Francesco al Prato in Perugia

The Three Graces, 1504, Oil on Panel

Raphael's exploration of the female nude figure, fashionable and popular subject. Initial exposure on what to do with color through Perugino. Moving into a type of tonal painting. Less based on contrasts of hue. Color theory focus, using color beyond what is descriptive but interpretive and intellectual. Ultra classical

The Mond Crucifixion, 1503, Oil on Panel

Raphael's first signed work. Simplified influence from Perugino. Cutting out extraneous visual bombardment to focus on a singular idea: Jesus's death on Good Friday. For the family's funerary chapel. m

Self-Portrait with Friend, oil on canvas, 1518

The Self-Portrait with a friend (also known as Double Portrait) is a painting by Italian High Renaissance painter Raphael. It dates to 1518-1520,[1] and is in the Louvre Museum of Paris, France. Whether the figure on the left is actually a self-portrait by Raphael is uncertain,[better source needed] although it was already identified as such in a 16th-century print.[2] he identity of the man portrayed before Raphael is unknown. Traditionally he was identified as his fencing master, since he holds the hilt of a sword. Modern art historians consider him as a close friend,[3] or possibly one of the painter's pupils, perhaps Polidoro da Caravaggio or Giulio Romano. One possibility is Giovanni Battista Branconio, for whom Raphael had designed, in the Borgo quarter of Rome, the now destroyed Palazzo Branconio. Other people associated with the character include Pietro Aretino, Baldassarre Peruzzi and Antonio da Sangallo the Younger, as well as other painters such as Il Pordenone or Pontormo, but these hypotheses have been refuted by other portraits. A significant portion of the painting seems to have been executed by one of Raphael's pupils.[4] The painting was owned by Francis I of France and, in the past, was assigned to other artists, including Sebastiano del Piombo.

School of athens cartoon

Rome 1509-10,, Raphael's Cartoon for the 'School of Athens', located just a short distance from Leonardo da Vinci's 'Last Supper' and Michelangelo's 'Pietà Rondanini', is one of the focal points of Renaissance Milan. At the height of the celebrations marking the 500th anniversary of Leonardo da Vinci's death, the work of another Renaissance artist, Raphael Sanzio, has gone on public view again. After an important restoration lasting four years, Milan's Pinacoteca Ambrosiana has enhanced its artistic and cultural contributions and is exhibiting the preparatory Cartoon for The 'School of Athens', one of the best-known paintings by the Urbino-born artist. The cartoon was created as a preparatory sketch for the large painting commissioned by Pope Julius II to decorate the Stanza della Segnatura in the Vatican, and was entirely hand-drawn by Raphael. This was a truly remarkable because the famous 16th master often worked with the help of other artists. The work has been hung alone in a room in the Pinacoteca. The room: la Sala Raffaello This room, known as the Sala Raffaello, was specially redesigned for the occasion by the architectural firm Stefano Boeri Architetti and enables visitors to get close enough to see the precision of the charcoal strokes and the realism of the large-scale figures depicted. Information panels and multimedia tools outlining the history, technique and restoration of this masterpiece, complete the exhibition. The presentation of Raphael's cartoon for public viewing is part of a larger project that includes the Pinacoteca Ambrosiana in the promotional activities and artistic circuit dedicated to Renaissance Milan

Stanza de Eliodoro, the expulsion of heliodorus from the temple

Rome 1512, The Expulsion of Heliodorus from the Temple is a fresco of the Italian renaissance painter Raphael. It was painted between 1511 and 1513 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that takes its name from it, the Stanza di Eliodoro. The Expulsion of Heliodorus from the Temple illustrates the biblical episode from 2 Maccabees (3:21-28). Heliodorus is ordered by Seleucus IV Philopator, the king of Syria, to seize the treasure preserved in the Temple in Jerusalem. Answering the prayers of the high priest Onias, God sends a horseman assisted by two youths to drive Heliodorus out. At the left, Raphael's patron, Julius II witnesses the scene from his litter. The money had been reserved for widows and orphans and a priest had seen and prayed and God sent down a horseman to drive him from the temple. The composition is divided into two halves, in the centre is the priest praying and the priest looks much like Julius II. On the right is the horseman fighting Heliodorus. The menorah by the priest in the centre shows that this is set BC and it is authentic. On the left are widows and orphans grouped together and Julius II is being carried on a throne, witnessing this event. The message of the fresco is "don't steal from the church". The architecture begs comparison with the school of Athens, although the Domes in "The Expulsion of Heliodorus from the Temple" are much richer and are gilded and highly decorated. The work contains a self-portrait by Raphael, near the far left.[1

Raphael Shop, Stanza della Segnatura

Rome, The first of Pope Julius II's rooms in the papal appartments to be decorated with Raphael's frescoes was the study in which the "Signatura gratiae" tribunal was originally located (Stanza della Segnatura). The artist's concept brings into harmony the spirits of Antiquity and Christianity. The humanist quadripartition of culture - theology, philosophy, poetry and justice - has a parallel in the four elements making up the universe: air, water, fire and earth. Each of these is represented by an allegorical painting on the walls of this room: the Disputation of the Holy Sacrament, the School of Athens, the Parnassus and the Virtues (Fortitude, Prudence, Temperance), respectively. The first composition Raphael executed in 1509 is the so-called Disputa or Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. Toward the end of 1509, Raphael began work on the wall opposite the Disputa. This second fresco, entitled the School of Athens, represents the truth acquired through reason. Raphael began the third composition at the end of 1509 or the beginning of 1510. It represents Parnassus, the dwelling place of Apollo and the Muses and the home of poetry, according to classical myth. The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511.

The Transfiguration Altarpiece, oil on panel, 1518- 1520

The Transfiguration is the last painting by the Italian High Renaissance master Raphael. Commissioned by Cardinal Giulio de Medici, the later Pope Clement VII (1523-1534) and conceived as an altarpiece for the Narbonne Cathedral in France, Raphael worked on it until his death in 1520. The painting exemplifies Raphael's development as an artist and the culmination of his career. Unusually for a depiction of the Transfiguration of Jesus in Christian art, the subject is combined with the next episode from the Gospels (the healing of a possessed boy) in the lower part of the painting. The Transfiguration stands as an allegory of the transformative nature of representation.[1] It is now in the Pinacoteca Vaticana in Vatican City. From the late 16th century until the early 20th century, it was said to be the most famous oil painting in the world. While there is some speculation that Raphael's pupil, Giulio Romano, and assistant, Gianfrancesco Penni, painted some of the background figures in the lower right half of the painting,[3] there is no evidence that anyone but Raphael finished the substance of the painting.[2] The cleaning of the painting from 1972 to 1976 revealed that assistants only finished some of the lower left figures, while the rest of the painting is by Raphael himself.

loggie

The Vatican loggias (Italian: Logge di Raffaello) are a corridor space in the Apostolic Palace, originally open to the elements on one side, which were decorated in fresco around 1519 by Raphael's large team of artists, with Giovanni da Udine the main hand involved. Because of the relative unimportance of the space, and a desire to copy the recently re-discovered Domus Aurea style of Ancient Roman painting, no large paintings were used, and the surfaces were mostly covered with grotesque designs on a white background, with paintings imitating sculptures in niches, and small figurative subjects in a revival of Ancient Roman style. This large array provided a repertoire of elements that were the basis for later artists creating grotesque decoration across Europe.[1] The logge now form part of the ceremonial route for distinguished visitors, but are otherwise on the tourist route.

Sistine Tapestries,

The chapel was already highly decorative, following an earlier commission by Pope Sixtus IV (reigned 1471 - 84) for a series of frescoes on the side walls depicting the life of Moses and Christ. These had been painted by the leading artists of the early Renaissance: Pietro Perugino (Raphael's master), Domenico Ghirlandaio (Michelangelo's master), Luca Signorelli and Sandro Botticelli. In addition to this, Pope Julius II (reigned 1503 - 13), had recently commissioned Michelangelo's revolutionary ceiling frescoes (1508 - 12). This meant the only significant undecorated areas on which Leo X could make his mark were the lower walls, which he decided to cover with a tapestry cycle (a series of tapestries) . The chapel was already highly decorative, following an earlier commission by Pope Sixtus IV (reigned 1471 - 84) for a series of frescoes on the side walls depicting the life of Moses and Christ. These had been painted by the leading artists of the early Renaissance: Pietro Perugino (Raphael's master), Domenico Ghirlandaio (Michelangelo's master), Luca Signorelli and Sandro Botticelli. In addition to this, Pope Julius II (reigned 1503 - 13), had recently commissioned Michelangelo's revolutionary ceiling frescoes (1508 - 12). This meant the only significant undecorated areas on which Leo X could make his mark were the lower walls, which he decided to cover with a tapestry cycle (a series of tapestries) .

Baldassare Peruzzi, Villa Farnesina, 1506-10

Villa Farnesina, located in Rome (Trastevere), is considered one of the noblest and most harmonious creations of Italian Renaissance. At the beginning of the sixteenth century, it was commissioned by the Sienese banker Agostino Chigi to the architect Baldassarre Peruzzi. The interior is decorated with frescoes by Raphael Sanzio, Sebastiano del Piombo, Giovanni da Udine, Giovanni Bazzi known as il Sodoma, Giulio Romano, Giovan Francesco Penni, and Baldassarre Peruzzi himself.

Central Plan Church

a church focused around a central on a central point, usually utilizing a square or octagonal plan

stanza della incendio

by RAFFAELLO Between 1514 and 1517 Raphael and his workshop frescoed the walls of the Stanza dell'Incendio di Borgo at Leo X's behest. The scenes depicted clearly relate to the new pope. They consist of four episodes from the history of the church during the Carolingian age, each of which has a pope named Leo. Leo X had found the theme of Leo I and Attila already present in the program of the Stanza d'Eliodoro, but he related it to himself by introducing his portrait features. This painted identification with predecessors sharing his name is one he continued in the Stanza dell'Incendio with stories of the popes Leo III and Leo IV: in each case the papal protagonist named Leo has Leo X's facial features.

Sebastino Serlio, The Book of Architecture (book 3) Venice 1540

engraved plate for New St Peters Basilica from a fresco in Sala di Constantino done by Raphaels pupils which is thought to represent their deceased masters plans for New St Peters Basilica Baldassare Peruzzi and Antonio da Sangallo the Younger, even those of a longitudinal plan (Bruschi 1989). Moreover, in Terzo libro Serlio illustrates the projects of Bramante and Raphael for Saint Peter's Basilica in Rome, Raphael's a longitudinal plan and Bramante's a centered plan.

Laying the foundation of Old St Peters Basilica

from a fresco in Sala di Constantino done by Raphael's pupils, 1524, which is thought to represent their deceased master's plan for New Saint Peter's Basilica

Faith, Hope, and Charity, the three predella panels

part of the Baglioni alterpiece. The frame is like a mini building with sculptural references.

Predella

the painted or sculpted lower portion of an altarpiece that relates to the subjects of the upper portion