A New Light for the Rooms Painted by Raphael in the Vatican Museums Catholic.Net

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A new light for the rooms painted by Raphael in the Vatican Museums Catholic.net Raphael's Paintings A new light for the rooms painted by Raphael in the Vatican Museums There are 2,400 new LED lights, but they are not to dazzle but to illuminate with the same intensity with which Raphael painted these rooms in the 16th century. The challenge was great because it involved trying to reproduce the light conditions of the same sun artificially to provoke the experience of enjoying these paintings the closest to the exact moment they were painted. CARLO BOGANI Lighting project responsible "We set ourselves as objective to reproduce natural light artificially. Therefore, the great challenge has been to reproduce the sun’s chromatic scheme or at least the closest to the sun so that it resembles the conditions with which Raphael painted the frescoes". Thanks to this new light that bathes the famous rooms you can now see the masterpiece of Raphael, the School of Athens, one of the most famous frescoes in the History of Art that the Italian painter made with just over 25 years of age. It was a commission of Pope Julius II who wanted to decorate the Stanza Della Segnatura, which would be his library. The School of Athens is the fresco that attracts all eyes for its innovative composition and extraordinary perspective. Here Raphael wanted to translate the whole History of Philosophy. At the center, Plato and Aristotle settle their philosophical differences among other great thinkers. After seeing the Sistine Chapel, Raphael included this character that has the face of Michelangelo. He is Heraclitus, the philosopher. The artist also included himself in his portrait. He is one of the few characters who interpellates the spectator with his gaze. página 1 / 2 A new light for the rooms painted by Raphael in the Vatican Museums Catholic.net In front of Philosophy, Raphael placed Theology in this other frescoes, "the dispute of the Sacrament" which was, in fact, the first of the frescoes he painted. Now the visitor can enjoy them with the same light with which Raphael wanted them as if the paint was still fresh on these walls. página 2 / 2 Powered by TCPDF (www.tcpdf.org).

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Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
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