Raphael Sanzio 

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1 Born in Urbino in 1483, Raffaello is a 2 He started his career in Perugia under the guide of “Il Perugino” , but 3 He decided to move to Florence, preeminent artist of the Italian Renaissance. His as early as 18 it was acknowledged that he possessed a unique talent fascinated by the work of Leonardo and father, Giovanni Santi (Sanzio meaning Santi’s), and he was commissioned works all around Umbria. Michelangelo. was a famous artist and ran a flourishing workshop in Urbino, one of the most important artistic towns at that time; it was there that Raffaello approached art. At the age of eight the young artist lost his mother. His father passed away a few years later. 5 His workshop gathered both young apprentices and famous artists who worked with him on several projects at the same time. 4 At 25 Raphael triumphed with the frescoes in the Pope’s rooms, creating one of the most renowned works of art of the Renaissance: The school of Athens 6 Not only was Raphel an artist, but he (1509-1511). was also an architect: since 1514 he worked on the project of St Peter’s Basilica Raphael Sanzio 7 Raphael’s strength is in the emotional 8 Among his most important work: The Marriage of the charge the artist endows the characters’ Virgin (1504), in Saint France’s Church in Città di Raphael died at the early age of 37. His 9 faces, which manages to communicate Castello, The Resurrection of Christ (1501) kept at the body is the Pantheon, in Rome Museu de Arte in San Pao, Brazil, the Madonna of the their feelings Goldfinch (1507) at the Uffizi Museum in Florence, La fornarina (1518-1519) e The trasfiguration , his last work. The school of Athens The transfiguration La Fornarina The veiled woman Portrait of a young woman The Madonna of the goldfinch Creation of the world (la muta) .

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RAFFAELLO SANZIO Una Mostra Impossibile
RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica.
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Rome Celebrates Raphael Superstar | Epicurean Traveler
Rome Celebrates Raphael Superstar | Epicurean Traveler https://epicurean-traveler.com/rome-celebrates-raphael-superstar/?... U a Rome Celebrates Raphael Superstar by Lucy Gordan | Travel | 0 comments Self-portrait of Raphael with an unknown friend This year the world is celebrating the 500th anniversary of Raphael’s death with exhibitions in London at both the National Gallery and the Victoria and Albert Museum, in Paris at the Louvre, and in Washington D.C. at the National Gallery. However, the mega-show, to end all shows, is “Raffaello 1520-1483” which opened on March 5th and is on until June 2 in Rome, where Raphael lived the last 12 years of his short life. Since January 7th over 70,000 advance tickets sales from all over the world have been sold and so far there have been no cancellations in spite of coronavirus. Not only is Rome an appropriate location, but so are the Quirinal’s scuderie or stables, as the Quirinal was the summer palace of the popes, then the home of Italy’s Royal family and now of its President. On display are 240 works-of-art; 120 of them (including the Tapestry of The Sacriﬁce of Lystra based on his cartoons and his letter to Medici-born Pope Leo X (reign 1513-21) about the importance of preserving Rome’s antiquities) are by Raphael himself. Twenty- 1 of 9 3/6/20, 3:54 PM Rome Celebrates Raphael Superstar | Epicurean Traveler https://epicurean-traveler.com/rome-celebrates-raphael-superstar/?... seven of these are paintings, the others mostly drawings. Never before have so many works by Raphael been displayed in a single exhibition.
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FORNARINA. May 2012
Amado Rafael (sobre Rafael y la Fornarina) Un drama en dos actos ©©© Aurora MATEOS 1 AMADO RAFAEL __________________________________________________ La obra ha sido legalmente registrada. Queda prohibida, salvo excepción prevista en la ley, cualquier forma de reproducción, distribución, comunicación publica, espectáculo y transformación de esta obra sin contar con la autorización de Aurora Mateos. La infracción de los derechos mencionados puede ser constitutiva de delito contra la propiedad intelectual y puede asimismo dar lugar a las acciones administrativas y civiles correspondientes 2 A R Roger,oger, por las cosas que pasan en RomaRoma.... RAPHAEL URBINAS QUOD NATURA ABSTULERAT, ARTE RESTITUIT 1. Tu sai perché, senza vengarlo in carte 2, Ch´io dimostrai il contrario del mio cuore. 1 “Rafael de Urbino, lo que la naturaleza quitara, el arte lo restituye”, inscripción en la tumba del elefante Annone, regalado por el rey Emmanuel de Portugal al Papa León, y que Rafael pintó en la “Stanza della Segnatura” del Vaticano. 2 Soneto n.IV de Raffaelo: “Tú sabes sin que yo lo niegue por carta, por qué demuestro el contrario de mi corazón”. Actualmente en el dibujo PII 546 del Ashmolean Museum de Oxford . 3 AGRADECIMIENTOS: A la Biblioteca de la Universidad de Cambridge (Reíno Unido) y del Magdalene College , por dejarme acceder a sus archivos; al profesor Eamon Duffy por sus consejos eclesiásticos; al teatro Echegaray de Málaga, por incluir la primera lectura dramatizada de la obra en el XXVI festival internacional de teatro; a Francisca Medina (Universidad de Granada) por el estudio sobre los tratamientos protocolarios de los personajes; a Ignacio del Moral por ser amigo y maestro; y particularmente a Boomie Petersen, Peter Coy y Rick Hite, Director, Dramaturgista y traductor en la “Virginia Playwrights & Screenwriters Initiative, VPSI” del Teatro Hamner en Estados Unidos, a quienes esta obra y yo estamos en deuda.
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CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio.
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COVER NOVEMBER Prova.Qxd
54-55 Lucy Art RAPHAEL Apri20 corr1_*FACE MANOPPELLO DEF.qxd 3/24/20 11:58 AM Page 54 Of Books, Art and People RAPHAEL SUPERSTAR n On this page, Raphael’s self-portrait; and BY LUCY GORDAN Madonna del Granduca; Portrait of Pope Leo X with Two Cardinals ith over 70,000 ad - One loan is Raphael’s realistic vance ticket sales Uffizi Portrait of Pope Leo X with Two Cardi - from all over the Commissioned by the W nals (c. 1517). world and, as of this writing Pope himself and painted in Rome, it was (in late February) no cancelations a wedding present for his nephew Loren - in spite of coronavirus, the mega- zo, the Duke of Urbino, who fathered show three years in the planning Catherine who became Queen of France, “Raf - was opened on and so ended up in the . The cardi - faello 1520-1483” Uffizi March 3 by Sergio Mattarella, the nal on the left is the Pope’s nephew, Giu - president of Italy. To celebrate the liano de’ Medici (future Pope Clement 500th death anniversary of the “ VII); the other is Cardinal Luigi de’ divin or “ Rossi, a maternal cousin. It was especial - pictor” dio mortale” (“mortal as his contemporary artist-bi - ly restored for “ at the God”) Raffaello” Opificio ographer Giorgio Vasari called in Florence delle Pietre Dure . Raphael, it’s on in the Quirinal’s The other paintings by Raphael Uffizi until June 2. [ : are his , Scuderie Note The gov - San Giovanni Battista La Velata, perhaps a portrait of Raphael’s great love ernment announced in early March .] Margherita Luti; a portrait of the closing of the show until April 3 due to the virus Cardinal Bernardo Dovizi On display are 240 works-of-art; 120 of them (includ - (1470-1520), a patron of Raphael, a close da Bibbiena ing the based on his advisor to Pope Leo X and the uncle of Raphael’s official Tapestry of The Sacrifice of Lystra cartoons and his letter to Medici-born Pope Leo X, reign but not beloved fiancée; Ezekiel’s Vision, Madonna del 1513-21, about the importance of preserving Rome’s an - and a portrait of Granduca Madonna dell’Impannata, tiquities) are by Raphael himself.
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Senior Thesis Essay
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Raphael Santi London
RAPHAEL SANTI LONDON PRINTED BY SPOTTISWOODE AND CO. NEW-STEEET SQUARE RAPHAEL SANTI His Life and His Works BY ALFRED BARON VON WOLZOGEN TRANSLATED BY F. E. BUNNETT TRANSLATOR OF GRIMM'S ' LIFE OF MICHAEL ANGELO' AND GERVINUS'S 'SHAKESPEARE COMMENTARIES LONDON SMITH, ELDER, & CO., 65 CORNHILL 1866 759.5 R12wEb TRANSLATOR'S PREFACE. HAVING translated Grimm's 'Life of Michael Angelo,' I was desirous of finding some memoir of his great contemporary Eaphael, which might complete the picture we already possess of a period so rich in the history of Art. It was not easy to meet with a work which was not too diffuse in its art-criticisms for the ordinary reader, and until Wolzogen's 'Life of Eaphael' appeared, there was no concise biography of the great painter which seemed to me to supply the information required. It is for this reason that I have translated the work; and I trust it will not be without interest to those who have hitherto known Eaphael in his art alone. F. E. BUNNETT. PREFACE. EAPHAEL-LITERATURE already fills a library of its own. Extensive works, such as Passavant's ' Eafael von Urbino und sein Vater Giovanni Santi' (three volumes, with maps, Leipsic, 1839-58), are among its treasures; but there is ever lacking a concise summary of all the more important investigations and decisions hitherto arrived at with regard to the great master's life and works. The best and most spirited of these are for the most part, moreover, in various papers and pamphlets, in which Eaphael is not the sole subject.
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Raffaello E Le Sue Reincarnazioni
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