High Renaissance: Raphael (1483 – 1520)

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High Renaissance: Raphael (1483 – 1520) Giorgio Vasari 1st Art Historian (also painter & architect) First-hand knowledge of artists Lives of the Most Eminent Painters, Sculptors, and Architects (1550; 1568 2 nd edition) 120 biographies Cimabue to Michelangelo (13 th C to 16 th C) Raphael Died at 37 (Michelangelo eight years older – lived to be 89) Stark contrast to Michelangelo in personality and character Moved toward beauty and color Painter of Madonnas and portraits – a criticism by Michelangelo Great synthesizer Absorbed styles of others Studied with Perugino Merged Leonardo and Michelangelo Beautiful and solid Lyrical and dramatic Early work Vision of the Young Knight (1502) Horizontal connection with vertical elements Quattrocento organization still The Three Graces (1502) Interlocked forms, rhythms (heads and bent arms, golden apples) Self-conscious designs – sophistication Absorbing Perugino Marriage of the Virgin Compare to Perugino’s Christ handing the keys to St. Peter Both completed in 1504 Raphael: more complex arrangement Absorbing Leonard Madonna & Child with John the Baptist (1505) La belle jardinière – The Beautiful Gardiner (1507) Tight pyramidal grouping Arranged naturally in setting Soft shading / prettified faces Raphael: precise, realistic landscape / playful interaction Maddalena Doni (1508) Portrait type – Mona Lisa Absorbing Michelangelo Entombment of Christ (1507) Christ’s body & languid arm – Pietà Twisting forms – Doni Madonna Called to Rome 1508 Related to Bramante – helped get commission Papal apartments – Stanze Stanza della Segnatura Formal audience/ receiving rooms Julius’ library Summation of High Renaissance Humanism Unity of knowledge Reconciling philosophy and science with theology Four domains of learning – personified in historical and contemporary figures Theology – Glorification of the Sacrament Justice & Law – Temporal and Spiritual Justice Art – Parnassus Philosophy – School of Athens School of Athens Sages of the world disputing / merging Plato & Aristotle Idealism vs. empiricism Arts vs. sciences Leonardo as Plato Arts on left / Sciences on right Apollo vs. Minerva Grisaille figures Set in vast Roman structure (not Greek) Bramante’s intended design of St. Peter’s Building still incomplete in painting Socrates Euclid (Bramante) Zoroaster & Ptolemy Pythagoras Diogenes Heraclitus (Michelangelo) Last figure added Stonemason’s cloths Cube as ideal form .

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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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III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C
III. RAPHAEL (1483-1520) Biographical and background information 1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi. 2. Influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X. 3. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, foreshortening, chiaroscuro, contrapposto. 4. Painting media a. Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas. b. Fresco (painting on wet plaster); cartoon, pouncing, giornata. Selected works 5. Religious subjects a. Marriage of the Virgin (“Spozalizio”), 1504 (oil on roundheaded panel, 5’7” x 3’10”, Pinacoteca de Brera, Milan) b. Madonna of the Meadow, c. 1505 (oil on panel, 44.5” x 34.6”, Kunsthistorisches Museum, Vienna) c. Madonna del Cardellino (“Madonna of the Goldfinch”), 1506 (oil on panel, 3’5” x 2’5”, Uffizi Gallery, Florence) d. Virgin and Child with St. Sixtus and St. Barbara (“Sistine Madonna”), 1512-13 (oil on canvas, 8’8” x 6’5”, Gemäldegalerie, Dresden) 6. Portraits a. Agnolo Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) b. Maddalena Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) c. Cardinal Tommaso Inghirami, c. 1510-14 (oil on panel, 2’11 ¼” x 2’, Pitti Palace, Florence) d. Baldassare Castiglione, c. 1514-15 (oil on canvas, 2’8” x 2’2”, Louvre Museum, Paris) e.
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Santa Maria Del Popolo Piazza Del Popolo Metro Station: Flaminio, Line a 7 AM – 12 PM (Closed Sunday) 4 PM – 7 PM (Closed Sunday)
Santa Maria del Popolo Piazza del Popolo Metro station: Flaminio, line A 7 AM – 12 PM (Closed Sunday) 4 PM – 7 PM (Closed Sunday) Sculpture of Habakkuk and the Angel by Bernini (after 1652) in the Chigi Chapel Crucifixion of St. Peter (1600-01) by Caravaggio in the Cerasi Chapel. Baroque facade added by Bernini in 1600 Standing on the Piazza del Popolo, near the northern gate of the Aurelian Wall, the Basilica of Santa Maria del Popolo is a small temple with a splendid Renaissance decoration in its interior. In its interior Santa Maria del Popolo’s decoration is unlike any other church in Rome. The ceiling, less high than most built during the same period, is practically bare, while the decoration of each of the small chapels is especially remarkable. Among the beautiful art work found in the church, it is worth highlighting the Chapel Cerasi, which houses two canvases by Caravaggio from 1600, and the Chapel Chigi, built and decorated by Raphael. If you look closely at the wooden benches, you’ll be able to see inscriptions with the names of the people the benches are dedicated to. This custom is also found in a lot of English speaking countries like Scotland or Edinburgh, where the families of the person deceased buy urban furniture in their honour. ******************************************** Located next to the northern gate of Rome on the elegant Piazza del Popolo, the 15th-century Santa Maria del Popolo is famed for its wealth of Renaissance art. Its walls and ceilings are decorated with paintings by some of the greatest artists ever to work in Rome: Pinturicchio, Raphael, Carracci, Caravaggio and Bernini.
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Two Raphael Paintings Unearthed at the Vatican After 500 Years Published 14Th December 2017
AiA Art News-service Two Raphael paintings unearthed at the Vatican after 500 years Published 14th December 2017 Two Raphael paintings unearthed at the Vatican after 500 years Written byDelia Gallagher, CNN A 500-year-old mystery at the Vatican has just been solved. Two paintings by Renaissance master Raphael were discovered during the cleaning and restoration of a room inside the Vatican Museums. Experts believe they are his last works before an early death, around the age of 37, in 1520: "It's an amazing feeling," said the Vatican's chief restorer for the project, Fabio Piacentini. What makes Wallonia unique? "Knowing these were probably the last things he painted, you almost feel the real presence of the maestro." The two female figures, one depicting Justice and the other Friendship, were painted by Raphael around the year 1519, but he died before he could finish the rest of the room. After his death, other artists finished the wall and Raphael's two paintings were forgotten. The clues In 1508, Raphael was commissioned by Pope Julius II to paint the his private apartments. The artist completed three rooms, known today as the "Raphael rooms," with famous frescoes like the School of Athens. He then began plans for the fourth room, the largest in the apartment, a banquet hall called the Hall of Constantine. His plan was to paint the room using oil, rather than the traditional fresco technique. An ancient book from 1550 by Giorgio Vasari, "Lives of the most excellent painters, sculptors and architects," attests that Raphael began work on two figures in a new experiment with oil.
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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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Renaissance History Through His Humanist Accomplishments
3-79 A / /vO.7Y HUMANISM AND THE ARTIST RAPHAEL: A VIEW OF RENAISSANCE HISTORY THROUGH HIS HUMANIST ACCOMPLISHMENTS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of Master of Science By Douglas W. Miller, B.A., M.S. Denton, Texas August, 1991 Miller, Douglas W., Humanism and the Artist Raphael: A View of Renaissance History Through His Humanist Accomplishments. Master of Science (History), August, 1991, 217 pp., 56 illustrations, bibliography, 43 titles. This thesis advances the name of Raphael Santi, the High Renaissance artist, to be included among the famous and highly esteemed Humanists of the Renaissance period. While the artistic creativity of the Renaissance is widely recognized, the creators have traditionally been viewed as mere craftsmen. In the case of Raphael Santi, his skills as a painter have proven to be a timeless medium for the immortalizing of the elevated thinking and turbulent challenges of the time period. His interests outside of painting, including archaeology and architecture, also offer strong testimony of his Humanist background and pursuits. ACKNOWLEDGEMENT I would like to gratefully acknowledge the kind and loving support (and patience) that I have received from my wife and my entire family. Thank you for everything, and I dedicate this thesis to all of you, but especially to the person that most embodies all those humanist qualities this thesis attempts to celebrate and honor. That person is my father. iii TABLE OF CONTENTS LIST OF ILLUSTRATIONS.. ... .. v INTRODUCTION................. CHAPTER I. HUMANISM: THE ESSENCE OF THE RENAISSANCE.
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Download Press Release
Contents Exhibition Facts Press Release Wall Texts Biography Supporting Program Exhibition Facts Press Conference 28 September 2017 | 10 am Opening 28 September 2017 | 6.30 pm Duration 29 September 2017 to 7 January 2017 Venue Propter Homines Hall Curator Dr Achim Gnann Exhibits 150 Catalogue The catalogue is available for EUR 34,90 in the Albertina’s museum shop and at www.albertina.at Contact Albertinaplatz 1 | A-1010 Vienna T +43 (0)1 534 83 - 0 [email protected] | www.albertina.at Opening hours NEW Daily 10 am – 6 pm Wednesdays & Fridays 10 am – 9 pm Press contact Mag. Verena Dahlitz T +43 (01) 534 83 - 510 | M +43 (0) 699 10981746 [email protected] Mag. Ivana Novoselac-Binder T +43 (01) 534 83 - 514 | M +43 (0)699 12178741 [email protected] Mag. Fiona Sara Schmidt T +43 (01) 534 83 - 511 | M +43 (0)699 12178720 [email protected] Mag. Barbara Walcher T +43 (01) 534 83 - 512 | M +43 (0)699 10981743 [email protected] Presented by Sponsor Partner Mediapartner RAPHAEL 29 September 2017 – 7 January 2018 Together with Leonardo da Vinci and Michelangelo, Raphael completes the triumvirate of Italian Renaissance artists. Moreover, the world-famous drawings of this prematurely deceased master (1483–1520) make him one of art history’s great draftsmen. The Albertina Museum is now paying tribute to Raphael with a major exhibition of 150 paintings and drawings. Starting from the Albertina Museum’s own significant holdings and rounded out by the most beautiful and important drawings from prominent museums such as the Uffizi, the Royal Collection of the British Royal Family, the British Museum, the Louvre, the Vatican Museums, and the Ashmolean Museum, this monographic presentation places Raphael’s thinking and conceptual process front and center: featured works range from initial spontaneous artist’s impressions to virtuosic detail studies, compositional studies, and the completed paintings themselves.
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The Transfiguration Raphael Sanzio 1516-1520 Oil on Wood Vatican Museum
The Transfiguration Raphael Sanzio 1516-1520 Oil on Wood Vatican Museum The painting of The Transfiguration was Raphael’s last great masterpiece. In fact, he died before this painting was finished leaving others to complete the work. He loved this piece so much that he asked for it to be brought to the foot of his bed so he could gaze on it before he passed away. He died on Good Friday, April 6, 1520 at the age of 37 and is buried in the Pantheon in Rome. History of the Painting This painting was commissioned by Cardinal Giulio de Medici for a church in Narbonne, France. However, the Cardinal decided to place it in the church of St. Peter in Montorio in Rome instead. This painting was so popular that a mosaic copy was made for St. Peter’s Basilica in 1774. In 1797, Napoleon’s troops marched into Rome and seized many great paintings of art including The Transfiguration. The stolen paintings were brought to Paris and installed in the Louvre Museum. After the fall of Napoleon in 1815, envoys to Pope Pius VII were able to negotiate the return of the Raphael paintings back to Rome. This painting was then placed in the Vatican Museums. The Gospel Story Raphael’s depiction of the Transfiguration is actually two separate events one following the other. The upper portion of the painting depicts the Transfiguration of Christ aglow in heavenly light. Christ is shown in His glory. The glory that was proper to God at the time now shows a communion of glory between the Father and the Son, thus showing that His glory is also attributed to His Son.
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RAPHAEL's ACTS of the APOSTLES TAPESTRIES - the BIRTH of the TAPESTRY REPRODUCTION SYSTEM
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AGOSTINO CHIGI'S VILLA SUBURBANA A ROMAN LIFESTYLE: 1510 1520 by Margery Masinter A Qualifying Paper submitted in partial fulfillment of the requirements for the degree of Master of Arts in the History of Decorative Arts The Cooper-Hewitt Museum and the Parsons School of Design 1993 TABLE OF CONTENTS List of Illustrations i Chronology ..................... V] I. Introduction .................1 II. Chigi and His Circle .............2 III, Villa Chigi: Architecture and Decoration . 6 IV. The Garden and Tiber Dining Loggia ......13 V. The Pleasure of Dining Al Fresco .......17 VI. Cookery and Presentation ...........22 VII. Table Decoration . 28 VIII. Conclusion ..................32 Endnotes ......................33 Bibliography ....................40 Illustrations ....................44 AGOSTINO CHIGI 1 S VILLA SUBURBANA A ROMAN LIFESTYLE: 1510 - 1520 List of Illustrations 1. Seal of Agostino Chigi. (F. Hermanin, La Farnesina, Bergamo, 1927, embossed on front cover). 2. Baldasarre Peruzzi, Villa Chigi, Rome, 1510 [Villa Farnesina]. (E. Gerlini, La Villa Farnesina in Roma, Rome, 1949, 44. 3. Portrait Medal of Imperia. (L. Lawner, Lives of the Courtesans, New York, 1987, 8.) 4. Giulio Romano, Two Lovers (Bedchamber of a prominent courtesan?), Hermitage, Leningrad. (P. Thornton, The Italian Renaissance Interior 1400-1600, New York, 1991, 356. 5. Villa Farnesina, Rome, drawing, 1593. (E. Gerlini, La Villa Farnesina in Roma, Rome, 1949, 43. 6. Villa Chigi, Rome, Plan, reconstructed to 1518. (M. Masinter, based on C. L. ,Frommel, Die Farnesina und Peruzzis Architechtonisches Fruhwerk, Berlin, 1961, 31. 7, Baldussare Peruzzi, Villa Chigi, Siena, 1505. (C. L. Frommel, Die Farnesina und Peruzzis Architectonisches Fr'uhwerk, Berlin, 1961, 107.) 8. Fresco of Roman Villa, Stabies. (P.
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For immediate release – 24/09/2020 The high-resolution recording of the Raphael Cartoons Factum Foundation for the V&A and Royal Collection Trust The Raphael Court at the V&A during the recording process © Gabriel Scarpa for Factum Foundation In August 2019, a team of 3D-scanning and photography specialists from Factum Foundation carried out the recording of the Raphael Cartoons at the Victoria and Albert Museum in London. The Cartoons, lent to the V&A from the Royal Collection by Her Majesty The Queen, are among the greatest treasures of the Renaissance in the UK. After his election in March 1513, Pope Leo X commissioned Raphael to create a set of ten full-scale designs for a series of tapestries for the Sistine Chapel in the Vatican Palace, illustrating scenes from the lives of Saint Peter and Saint Paul. Once complete, the Cartoons were sent to the workshop of merchant- weaver Pieter van Aelst in Brussels, which transformed the monumental designs into tapestries. Seven of Inscrita en el Registro de Fundaciones por OM 24/09/2009 con nº 878. VAT no. ESG85614899 [email protected] calle Albarracín, 28 - 28037 Madrid, Spain. Telf +34 91 5500978 / 44 Lexington Street - W1F 0LP London, United Kingdom For immediate release – 24/09/2020 the Cartoons survive to this day and have been on public display in the South Kensington Museum – now the V&A – since 1865. In 2020 – to mark the 500th anniversary of Raphael’s death – the V&A are transforming the way visitors experience the Cartoons through a refurbishment of The Raphael Court and a new interpretive approach, which uses Factum Foundation’s recordings to reveal in-depth stories about the monumental works of art.
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