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Raffael Santi | Elexikon
eLexikon Bewährtes Wissen in aktueller Form Raffael Santi Internet: https://peter-hug.ch/lexikon/Raffael+Santi MainSeite 63.593 Raffael Santi 3'315 Wörter, 22'357 Zeichen Raffael Santi, auch Rafael, Raphael (ital. Raffaello), irrtümlich Sanzio,ital. Maler, geb. 1483 zu Urbino. Der Geburtstag selbst ist streitig: je nachdem man die vom Kardinal Bembo verfaßte Grabschrift R.s deutet, welche besagt, er sei «an dem Tage, an dem er geboren war, gestorben» («quo die natus est eo esse desiit VIII Id. April MDXX», d. i. 6. April 1520, damals Karfreitag), setzt man den Geburtstag auf den 6. April oder auf den Karfreitag, d. i. 28. März 1483, an. Seine erste künstlerische Unterweisung dankte er dem Vater Giovanni Santi (s. d.), den er jedoch bereits im 12. Jahre verlor, sodann einem unbekannten Meister in Urbino, vielleicht dem Timoteo Viti, mit dem er auch später enge Beziehungen unterhielt. Erst 1499 verließ er die Vaterstadt und trat in die Werkstätte des damals hochberühmten Malers Perugino (s. d.) in Perugia. Das älteste Datum, welches man auf seinen Bildern antrifft, ist das Jahr 1504 (auf dem «Sposalizio», s. unten); doch hat er gewiß schon früher selbständig für Kirchen in Perugia und in Città di Castello gearbeitet. 1504 siedelte Raffael Santi nach Florenz über, wo er die nächsten Jahre mit einigen Unterbrechungen, die ihn nach Perugia und Urbino zurückführten, verweilte. In Florenz war der Einfluß Leonardos und Fra Bartolommeos auf seine künstlerische Vervollkommnung am mächtigsten; von jenem lernte er die korrekte Zeichnung, von diesem den symmetrischen und dabei doch bewegten Aufbau der Figuren. Als abschließendes künstlerisches Resultat seines Aufenthalts in Florenz ist die 1507 für San Fancesco in Perugia gemalte Grablegung zu betrachten (jetzt in der Galerie Borghese zu Rom). -
7 X 11 Long.P65
Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information t INDEX Achilles, shield by Hephaistos, 61, 223n23 two versions, Italian and Latin, 223n15 Achilles Tatius on verisimilitude, 94, 98 on grouping of paintings, 172, 242n53 De re aedificatoria on painting depicting the myth of Philomela, on fabulae, 38 188. See also Europa on historiae, 38 translated by Dolce, 172 on paintings in villas, 38 Acrisius, legendary King of Argos, 151 humanistic painting program of, 38, 59 ad fontes, 101 Aldrovandi, Ulisse, Adhemar,´ Jean, 19, 227n90 All the Ancient Statues ...,12 Adonis on antique statues of Adonis and Venus, 114 Death of Adonis by Piombo, 215n4. See also description of Danae,¨ 127, 128 Venus and Adonis description of Europa, 91 Adriani, Giovanni Battista, 152–153, 169, 170, description of Marsyas, 135–136 174 description of Proserpina, 106 Adrian VI (pope from 9 January 1522 to 14 description of statues compared with Lucius’s, September 1523), 44 114 dispenses with antiquities from Rome, 44 on gardens, 153 tutor of Charles V, 246n6 identification of mythological subjects by, 12 Aesop, 197, 200 Alexander the Great, 42 Agostini, Niccolodegli,` 65 armor of, 138 Alamanni, Luigi, Favola di Narcisso and Favola di and Roxana. See Sodoma (Giovanni Antonio Fetonte, 211, 248n48 Bazzi) Alberti, Leon Battista alla franceze. See Warburg, Aby De pictura, 4 all’antica on art practices, 56 accumulated interest in antiquity required for, on brevitas, 190 2, 131 on historia, 58–59 -
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. -
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. -
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. -
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. -
Raphael Born April 6, 1483, Urbino, Duchy of Urbino [Italy] Died April 6
Raphael Born April 6, 1483, Urbino, Duchy of Urbino [Italy] Died April 6, 1520, Rome, Papal States [Italy] The Grand-Duke's Madonna, oil painting by Raphael, 1505; in the Pitti … Scala/Art Resource, New York Italian in full Raffaello Sanzio master painter and architect of the Italian High Renaissance. Raphael is best known for his Madonnas (see photograph) and for his large figure compositions in the Vatican in Rome. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. Early years at Urbino. Raphael was the son of Giovanni Santi and Magia di Battista Ciarla; his mother died in 1491. His father was, according to the 16th-century artist and biographer Giorgio Vasari, a painter “of no great merit.” He was, however, a man of culture who was in constant contact with the advanced artistic ideas current at the court of Urbino. He gave his son his first instruction in painting, and, before his death in 1494, when Raphael was 11, he had introduced the boy to humanistic philosophy at the court. Urbino had become a centre of culture during the rule of Duke Federico da Montefeltro, who encouraged the arts and attracted the visits of men of outstanding talent, including Donato Bramante, Piero della Francesca, and Leon Battista Alberti, to his court. Although Raphael would be influenced by major artists in Florence and Rome, Urbino constituted the basis for all his subsequent learning. Furthermore, the cultural vitality of the city probably stimulated the exceptional precociousness of the young artist, who, even at the beginning of the 16th century, when he was scarcely 17 years old, already displayed an extraordinary talent. -
RAFFAELLO SANZIO Di Carla Amirante
RAFFAELLO SANZIO di Carla Amirante 2020 è l’anno in cui ricorre il quinto centenario della morte di Raffaello Sanzio pittore e architetto tra i più grandi artisti di tutti i tempi, considerato come un esempio perfetto della pittura del Rinascimento italiano. Con i suoi dipinti caratterizzati da un giusto equilibrio compositivo e da una raffinata ricerca formale il Sanzio ha saputo creare opere così serene e concluse, prive dell'ambiguità leonardesca e del dramma michelangiolesco, tali da apparire inafferrabili e divine. Nella sua attività Raffaello fu aiutato da un bell’aspetto, una personalità amabile, educata e raffinata, ma essendo anche molto ambizioso seppe unire a queste sue doti naturali anche un talento straordinario e una capacità organizzativa, di tipo imprenditoriale, quasi moderna tale che in pochi anni di carriera riuscì ad ottenere grandissima fama e notevole ricchezza. Neppure Leonardo e Michelangelo erano riusciti ad ottenere altrettanto. Di eccezionale apertura mentale, Raffaello continuò anche in età matura a migliorare la sua formazione artistica seguendo più strade, interessandosi alla cultura del suo tempo e studiando altri artisti. Egli prese contatto con i protagonisti del pensiero neoplatonico e strinse amicizia con letterati e intellettuali per arricchire al massimo la sua personalità, utilizzando e rielaborando le loro idee e saperi per dare così altra linfa alla sua già feconda creatività. Raffaello riuscì a fondere così la più alta tradizione quattrocentesca con gli elementi innovativi del ‘500 in una personale visione unitaria e, avendo inoltre grande padronanza dei mezzi espressivi, portò nelle sue opere un linguaggio chiaro, preciso e dallo stile inconfondibile. Per i pittori venuti dopo di lui Raffaello divenne quindi il modello assoluto a cui fare riferimento e fu considerato il creatore della pittura “all’antica”, influenzando profondamente sia l’arte del suo tempo che quella venuta dopo di lui, la corrente artistica che va sotto il nome di Manierismo. -
In Colour Edited by R Leman Hare
I N C O L O U R E D ITE D B Y r L E M A N H A R E RA P H A E L I N TH E S A M E S B tS I A UT H OR A RT ST. V & . B E NS US A N . ELA QUE&. S L Y S B E NS US A N. RE N O LDS . L T R R . LE W I S H x N D. U NE . C . LE W I S H x N D R OMNEY. C & AL RE A C KLI N . GREU E . YS EY M ENR I NN . O I LI . B TT CEL . H Y B B S Luu a N P i sS A R Ro. ROSSETT I . H A Y . BELLI N I . GEORG E FR A A I O AM E A ON . NGEL C . J S M S R RA & L . EMB NDT. JOSE ISRAE S I O A LY s AL R LE GHT N . B D Y KO N ODY RA PHAEL PA U L G . H AR . OLERI G E. H OLMAN U NT. M Y E C D TI I A B E N S US A N T N . S . L. A LYS . MILLAI S . BALDRY Y CARLO D OLCI GEORG E H A . A I ORO MA x R or u s mw G NSB UGH . c . ’ ' TI NTO RE I I O. B E NS S A N S L U . M . LU IN I . -
Raphael's Ansidei Altarpiece in the National Gallery
Raphael’s Ansidei altarpiece in the National Gallery by DONAL COOPER, Victoria and Albert Museum, London, and CAROL PLAZZOTTA, National Gallery, London IT IS A PARADOX of scholarship that works of art long in pub- unfortunate errors regarding the identity of Raphael’s patron, lic collections may sometimes be neglected precisely because the location of the altarpiece in the church, and the original they are so familiar. Raphael’s Ansidei altarpiece (Fig.1), construction of the predella, all subsequently perpetuated in the ‘saved for the nation’ for an unprecedented sum in 1885, is a scholarly literature. Preparations for the National Gallery’s case in point.1 It had been bought directly from the Servite current exhibition Raphael: From Urbino to Rome provided the friars of S. Fiorenzo in Perugia in 1764 by Gavin Hamilton, impetus to study the Ansidei altarpiece afresh. Parallel cam- acting for Lord Robert Spencer, who subsequently presented paigns of technical and archival research led to a number of it to his brother, the 4th Duke of Marlborough.2 As new discoveries regarding the production, original setting and an altarpiece by the ‘divine’ Raphael, the Ansidei Madonna patronage of the main panel and its predella. These were was quite exceptional in a British collection, and became ‘the briefly summarised in short entries in the National Gallery object of a constant pilgrimage to the palace of Blenheim’ in exhibition catalogue and Technical Bulletin but are published Oxfordshire.3 When in 1883 the picture was offered for sale here fully for the first time.6 together with Van Dyck’s Equestrian portrait of Charles I to In his testament of 12th October 1490 (see Appendix 1 cover the 8th Duke’s mounting debts on the death of his below), the prosperous wool merchant Filippo di Ansideo father, an appeal by Royal Academicians led by their presi- di Simone, called ‘de Catrano’ (documented 1458–90), be- dent, Frederic Leighton, moved Gladstone’s government to queathed money for his burial in the parish church of S. -
Riunione Del 3 Dicembre Raffaello Sanzio
RIUNIONE DEL 3 DICEMBRE RAFFAELLO SANZIO Alla riunione di dicembre, Marcello Delli Zotti ci ha trasportati nel Rinascimento, epoca che lo affascina particolarmente e di cui è senza dubbio un esperto, facendoci conoscere il grande Raffaello come uomo e pittore. Marcello, anche lui un pittore, si è specializzato nella riproduzione di famosi artisti; e questo lo fa con la tenace passione e dedizione da lui perfezionate per mezzo di un serio studio delle tecniche e dei colori usati dagli artisti nelle varie epoche. Perciò Marcello non si limita a copiare, ma studia sia i pittori che i soggetti rappresentati nei dipinti che esegue. (Se volete vedere i quadri di Marcello, cliccate qui: www.marcello5567.com.) Perciò è stato veramente un privilegio assistere alla sua presentazione all’ultima riunione di Italiano per piacere, durante la quale ci ha parlato del divino Raffaello e ci ha fatto vedere le meravigliose immagini delle sue opere, alcune delle quali sono riprodotte qui sotto. La vita del grande pittore, chiamato divino come spetta soltanto a lui e agli altri due grandi del Rinascimento, Michelagelo Buonarroti e Leonardo da Vinci, inizia il 6 aprile 1483 ad Urbino. Il padre è Giovanni Santi, il pittore ufficiale del duca di Urbino. (Il cognome fu latinizzato in Santium, che, essendo pronunciato Sanzium all’italiana, fu trasformato in Sanzio.) La madre, Magia, muore quando Raffaello ha soltanto otto anni. Poco dopo il padre si risposa ma dopo soli tre anni muore anche lui ed il ragazzino rimane sotto la tutela dello zio paterno Bartolomeo. Non abbiamo documenti certi sull’attività del ragazzo ma si arguisce che, dopo il tirocinio nello studio del padre, si sia dedicato completamente alla pittura, grazie anche ad un fondo lascatogli dal nonno materno, commerciante in granaglie. -
L-G-0000349765-0002315494.Pdf
Raphael Text: Eugene Müntz Layout: Baseline Co. Ltd, 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Sirrocco, London, UK © Confidential Concepts, worldwide, USA All rights reserved. No part of this book may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-223-7 2 “Here lies Raphael, who while he lived made Nature afraid of being bested by him and, when he died, of dying with him.” — Pietro Bembo (Epitaph carved on Raphael's tomb in the Pantheon) 3 Biography 1483 Raffaello Santi or Sanzio, known as Raphael, is born in Urbino, probably on the 6th of April. He is the son of Giovanni Santi, a painter and official poet at the court of the great patron of the arts Federico da Montefeltro. 1491 Death of Raphael’s mother. He is deeply affected by the event. 1494 His father also dies. He is taken in by his uncle, a priest. 1495 The young artist arrives in Perugia and supposedly becomes one of the disciples of Pietro Vannucci, known as Perugino. 1501 The artist finishes the first work known to be his, the altar of the church of San Nicola da Tolentino, at Castello, in Umbria. 1504-1508 He spends several years in Florence, which is later known as his Florentine period.