Raphael santi paintings. Raffaello Santi

All Raphael's paintings are a vivid reflection of his subtle nature. From an early age, he was endowed with a hardened industriousness and a desire for spiritual and pure beauty. Therefore, in his works he tirelessly conveyed the bewitching forms of lofty ideas. Perhaps that is why under the brush of the master such a huge number of works were born that convey the perfection of the surrounding world and its ideals. Probably, none of the Renaissance artists so skillfully and deeply enlivened the plots of their paintings. Recall at least a real masterpiece of art of that time " Sistine Madonna". Unshakable and desirable, an image of a unique, wonderful vision appears before the viewer. It seems to descend from the bluish depths of the heavens and envelop those around with its majestic and noble golden radiance. Mary comes down solemnly and boldly, holding her baby in her arms. Such paintings by Raphael are a vivid reflection of his lofty feelings and pure sincere emotions. Monumental forms, clear silhouettes, balanced composition - this is the whole author, his aspirations for high ideals and perfection.

On his canvases, the master again fell in love with female beauty, graceful grandeur and gentle charm of the heroines. No wonder he, at least two of his works " Three Graces" and " Cupid and graces” dedicated to the beautiful goddesses of Roman mythology - the ancient Greek Charites. Their soft forms and rich lines embodied the most joyful, kind and bright beginning of all life. Rafael tirelessly drew inspiration from them. Purposefully, he portrayed the goddesses naked in order to bring each viewer closer to the virgin and tender nature of high art. Perhaps that is why the rest of the artist's works vividly display the divine power, sensual beauty, inextricably linked with the ideals of the surrounding world.

Lyrics: Ksusha Kors

Biography

The era of the High Renaissance in Italy gave the world great artists: Leonardo da Vinci, Michelangelo, Raphael, Titian. Each of them in his work embodied the spirit and ideals of the era. Cognitive purposefulness was vividly reflected in the work of Leonardo, in the works of Michelangelo - the pathos and drama of the struggle for great perfection, in Titian - a cheerful free-thinking, Raphael sings of the feelings of beauty and harmony.

Rafael (more precisely Raffaello Santi) was born April 6, 1483(according to other sources, March 28, 1483) in the family of the court painter and poet of the Duke of Urbino, Giovanni Santi, in the city of Urbino. Raphael's father was an educated man and it was he who instilled in his son a love of art. And Raphael received his first painting lessons from his father.

When Raphael was 8 years old, his mother died, and at the age of 11, after the death of his father, he was left an orphan.

The city of Urbino, in which Raphael was born and raised, in the middle of the 15th century was a brilliant artistic center, the center of the humanistic culture of Italy. The young artist could get acquainted with wonderful works of art in the churches and palaces of Urbino, and the beneficial atmosphere of beauty and art awakened imagination, dreams, and cultivated artistic taste. Biographers and researchers of Raphael's work suggest that for the next 5-6 years he studied painting with mediocre Urbino masters Evangelista di Piandimeleto and Timoteo Viti.

AT 1500 In the year Rafael Santi moved to Perugia to continue his education in the workshop of the largest Umbrian painter, Pietro Perugino (Vannucci). The artistic manner of Perugino, contemplative and lyrical, was close. The first artistic compositions were performed by Raphael at the age of 17-19 " Three Graces», « Dream of a knight"and famous" Madonna Conestabile". The theme of the Madonna is especially close to the lyrical talent of Raphael, and it is no coincidence that she will remain one of the main ones in his work.

The Madonnas of Raphael, as a rule, are depicted against the backdrop of landscapes, their faces breathe calmness and love.

In the Perugine period, the painter creates the first monumental composition for the church - “ Mary's betrothal”, marking a new stage in his work. AT 1504 Raphael moved to Florence in the year. He lived in Florence for four years, occasionally traveling to Urbino, Perugia, Bologna. In Florence, the artist joins the artistic ideals of Renaissance art, gets acquainted with the works of antiquity. At the same time, Leonardo da Vinci and Michelangelo worked in Florence, creating cardboard for battle scenes in the Palazzo Vecchiu.

Raphael studies ancient art, makes sketches from the works of Donatello, from the compositions of Leonardo and Michelangelo. He draws a lot from life, depicts nude models, achieves the correct transfer of the structure of the body, its movement, plasticity. At the same time he studies the laws of monumental composition.

Raphael's painting style is changing: it finds a stronger expression of plastic, forms - more generalized, compositions - simpler and more rigorous. During this period of his work, the image of the Madonna becomes the main one. The fragile, dreamy Umbrian Madonnas were replaced by images of more earthly full-blooded ones, their inner world became more complex and emotionally rich.

Compositions depicting Madonnas with babies brought fame and popularity to Raphael: “ Madonna del Granduca"(1505)," Madonna Tempi"(1508)," Orleans Madonna», « Madonna Column". In each painting on this subject, the artist finds new nuances, artistic fantasies make them completely different, the images acquire greater freedom and movement. The landscapes surrounding the Mother of God are a world of serenity and idyll. This period of the painter, Madonna artist"- the flowering of his lyrical talent.

The Florentine period of Raphael's work ends with the monumental canvas " Position in the coffin” (1507) and marks his transition to a monumental-heroic generalized style.

autumn 1508 Raphael moves to Rome. At that time, at the invitation of Pope Julius II, the best architects, sculptors, and painters from all over Italy came to Rome. Scientists - humanists gathered around the papal court. Popes, powerful spiritual and secular rulers, collected works of art, patronized science and the arts. In Rome, Raphael becomes a great master of monumental painting.

Pope Julius II instructed Raphael to decorate the papal chambers in the Vatican Palace, the so-called stanzas (rooms), with paintings. Rafael worked on the frescoes for nine years - from 1508 to 1517. The frescoes of Raphael became the embodiment of the humanistic dream of rebirth of the spiritual and physical perfection of man, his high calling and his creative possibilities. The themes of the frescoes that form a single cycle are the personification and glorification of Truth (Vero), Good, Good (Bene), Beauty, Beauty (Bello). At the same time, these are, as it were, three interrelated spheres of human activity - intellectual, moral and aesthetic.

The theme of the fresco Dispute» (« Dispute”) the affirmation of the triumph of the highest truth (the truth of religious revelation), communion. On the opposite wall is the best fresco of the Vatican stanzas, the greatest creation of Raphael " Athenian school». « Athenian school” symbolizes the rational search for truth by philosophy and science. AT " the school of Athens» the painter depicted a collection of ancient thinkers and scientists.

The third fresco of Stanza della Senyatura " Parnassus"- the personification of the idea of ​​Bello - Beauty, the Beautiful. This fresco depicts Apollo surrounded by muses, playing the viol with inspiration, below are famous and nameless poets, playwrights, prose writers, mostly ancient (Homer, Sappho, Alcaeus, Virgil, Dante, Petrarch ...). Allegorical scene opposite " Parnassus”, glorifies (Bene) Good, Good. This idea is personified by the figures of Wisdom, Measure and Strength, rhythmically united by the figures of little geniuses. Three of which symbolize the virtues - Faith, Hope, Mercy.

Raphael was engaged in monumental painting until the last years of his life. The surviving drawings of Raphael clearly reveal the originality of the artist's creative method, the preparation and implementation of the main task of the work. The main goal is to create a composition that is complete and complete.

During the years of work in Rome, Raphael receives many orders for the execution of portraits. The portraits created by him are simple, strict in composition, the main, the most significant, the unique stands out in the appearance of a person: “ Portrait of a cardinal», « Portrait of the writer Baldassare Castiglione"(friend of Rafael) ...

And in the easel painting of Raphael, the plot with the Madonna remains the same theme: “ Madonna Alba"(1509)," Madonna in the chair"(1514-1515), altar paintings -" Madonna di Foligno"(1511-1512)," St. Cecilia» (1514).

The greatest creation of easel painting by Raphael Sistine Madonna"(1513-1514). The royally majestic human intercessor descends to earth. The Madonna hugs the little Christ, but her hugs are ambiguous: they contain both love and parting - she gives him to people for suffering and torment. The Madonna moves and is still. She remains in her sublime ideal world and goes to the earthly world. Mary forever bears her son to people - the embodiment, the symbol of the highest humanity, beauty and greatness of sacrificial maternal love. Raphael created the image of the Mother of God, understandable to everyone.

The last years of Raphael's life were devoted to various fields of activity. AT 1514 year he was appointed to supervise the construction of St. Peter's Basilica, oversaw the progress of all construction and repair work in the Vatican. Created architectural designs for the Church of Sant Eligio degli Orefici (1509), Palazzo Pandolfini in Florence, Villa Madama.

AT 1515-1516 years, together with his students, he created cardboards for carpets intended for decoration on the holidays of the Sistine Chapel.

The last work - " Transfiguration"(1518-1520) - performed with significant participation of students and was completed by them after the death of the master.

Raphael's painting reflected the style, aesthetics and worldview of the era, the era of the High Renaissance. Raphael was born to express the ideals of the Renaissance, the dream of a beautiful man and a beautiful world.

Rafael died at the age of 37 April 6, 1520. The great artist is buried with full honors in the Pantheon. Rafael remained the pride of Italy and all mankind for centuries.

Raphael (Raffaello Santi) (1483 - 1520) - artist (painter, graphic artist), architect of the High Renaissance.

Biography of Raphael Santi

In 1500 he moved to Perugia and entered the workshop of Perugino to study painting. At the same time, Rafael completed the first independent works: the skills and abilities adopted from his father affected. The most successful of his early works are the Conestabile Madonna (1502-1503), The Knight's Dream, Saint George (both 1504)

Feeling like an accomplished artist, Raphael left his teacher in 1504 and moved to Florence. Here he worked hard on creating the image of the Madonna, to whom he dedicated at least ten works (“Madonna with a Goldfinch”, 1506-1507; “The Entombment”, 1507, etc.).

At the end of 1508, Pope Julius II invited Raphael to move to Rome, where the artist spent the final period of his short life. At the court of the Pope, he received the position of "artist of the Apostolic See." The main place in his work is now occupied by the paintings of the front chambers (stations) of the Vatican Palace.

In Rome, Raphael reached perfection as a portrait painter and acquired the opportunity to realize his talent as an architect: from 1514 he supervised the construction of St. Peter's Cathedral.

In 1515, he was appointed commissioner for antiquities, which meant the study and protection of ancient monuments and control over excavations.

The most famous of Raphael's works, the Sistine Madonna (1515-1519), was also written in Rome. In the last years of his life, the popular artist was so busy with orders that he had to entrust their execution to his students, limiting himself to drawing up sketches and general control over the work.
Died April 6, 1520 in Rome.

The tragedy of the brilliant master was that he could not leave behind worthy successors.

However, the work of Raphael had a huge impact on the development of world painting.

The work of Raphael Santi

Raphael Santi (1483-1520) most fully embodied the idea of ​​the brightest and loftiest ideals of Renaissance humanism with the greatest completeness in his work. A younger contemporary of Leonardo, who lived a short, extremely eventful life, Raphael synthesized the achievements of his predecessors and created his ideal of a beautiful, harmoniously developed person surrounded by majestic architecture or landscape.

As a seventeen-year-old youth, he discovers real creative maturity, creating a series of images full of harmony and spiritual clarity.

Delicate lyricism and subtle spirituality distinguish one of his early works - "Madonna Conestabile" (1502, St. Petersburg, Hermitage), an enlightened image of a young mother depicted against the backdrop of a transparent Umbrian landscape. The ability to freely arrange the figures in space, to connect them with each other and with the environment, is also manifested in the composition “The Betrothal of Mary” (1504, Milan, Brera Gallery). The scope in the construction of the landscape, the harmony of architectural forms, the balance and integrity of all parts of the composition testify to the formation of Raphael as a master of the High Renaissance.

With his arrival in Florence, Raphael easily absorbs the most important achievements of the artists of the Florentine school with its pronounced plastic beginning and wide coverage of reality.

The content of his art remains the lyrical theme of bright maternal love, to which he attaches special significance. She receives a more mature expression in such works as Madonna in the Green (1505, Vienna, Kunsthistorisches Museum), Madonna with a Goldfinch (Florence, Uffizi), The Beautiful Gardener (1507, Paris, Louvre). In essence, they all vary the same type of composition, composed of the figures of Mary, the infant Christ and the Baptist, forming pyramidal groups against the backdrop of a beautiful rural landscape in the spirit of the compositional techniques found earlier by Leonardo. The naturalness of the movements, the soft plasticity of the forms, the smoothness of the melodious lines, the beauty of the ideal type of the Madonna, the clarity and purity of the landscape backgrounds contribute to revealing the sublime poetry of the figurative structure of these compositions.

In 1508, Raphael was invited to work in Rome, at the court of Pope Julius II, an imperious, ambitious and energetic man who sought to increase the artistic treasures of his capital and attract the most talented cultural figures of that time to his service. At the beginning of the 16th century, Rome inspired hopes for the national unification of the country. The ideals of a national order created the ground for a creative upsurge, for the embodiment of advanced aspirations in art. Here, in close proximity to the heritage of antiquity, Raphael's talent flourishes and matures, acquiring a new scope and features of calm grandeur.

Raphael receives an order to paint the front rooms (the so-called stanzas) of the Vatican Palace. This work, which continued intermittently from 1509 to 1517, put Raphael among the greatest masters of Italian monumental art, confidently solving the problem of synthesis of architecture and Renaissance painting.

The gift of Raphael - a muralist and decorator - manifested itself in all its splendor when painting the Stanzi della Senyatura (printing room).

On the long walls of this room, covered with sailing vaults, the compositions "Disputation" and "The School of Athens" are placed, on the narrow walls - "Parnassus" and "Wisdom, Moderation and Strength", personifying the four areas of human spiritual activity: theology, philosophy, poetry and jurisprudence . The vault, divided into four parts, is decorated with allegorical figures that form a single decorative system with wall paintings. Thus, the entire space of the room turned out to be filled with painting.

Debate School of Athens Adam and Eve

The combination of images of the Christian religion and pagan mythology in the paintings testified to the spread among the humanists of that time of the ideas of reconciling the Christian religion with ancient culture and the unconditional victory of the secular principle over the church. Even in the "Dispute" (dispute of the church fathers about the sacrament), dedicated to the image of church leaders, among the participants in the dispute, one can recognize the poets and artists of Italy - Dante, Fra Beato Angelico and other painters and writers. The composition "The School of Athens" speaks of the triumph of humanistic ideas in Renaissance art, its connection with antiquity, glorifying the mind of a beautiful and strong man, ancient science and philosophy.

The painting is perceived as the embodiment of a dream of a brighter future.

From the depths of the enfilade of grandiose arched spans, a group of ancient thinkers emerges, in the center of which is the majestic gray-bearded Plato and the confident, inspired Aristotle, pointing to the ground with a gesture of his hand, the founders of idealistic and materialistic philosophy. Below, on the left at the stairs, Pythagoras bent over the book, surrounded by his students, on the right - Euclid, and here, at the very edge, Raphael depicted himself next to the painter Sodoma. This is a young man with a gentle, attractive face. All the characters of the fresco are united by the mood of high spiritual uplift and deep thought. They make up groups that are inseparable in their integrity and harmony, where each character exactly takes his place and where the architecture itself, in its strict regularity and majesty, helps to recreate the atmosphere of a high rise in creative thought.

The fresco "The Expulsion of Eliodor" in Stanza d'Eliodoro stands out with intense drama. The suddenness of the miracle happening - the expulsion of the robber of the temple by the heavenly rider - is conveyed by the swift diagonal of the main movement, using a light effect. Pope Julius II is depicted among the spectators watching the exile of Eliodor. This is an allusion to the events contemporary to Raphael - the expulsion of French troops from the Papal States.

The Roman period of Raphael's work is marked by high achievements in the field of portraiture.

The characters of the Mass in Bolsena (frescoes in the Stanza d'Eliodoro) acquire sharp portrait features full of life. Raphael also turned to the portrait genre in easel painting, showing his originality here, revealing the most characteristic and significant in the model. He painted portraits of Pope Julius II (1511, Florence, Uffizi), Pope Leo X with Cardinal Ludovico dei Rossi and Giulio dei Medici (circa 1518, ibid) and other portrait paintings. An important place in his art continues to occupy the image of the Madonna, acquiring features of great grandeur, monumentality, confidence, strength. Such is the “Madonna della sedia” (“Madonna in the Chair”, 1516, Florence, Pitti Gallery) with its harmonious composition closed in a circle.

At the same time, Raphael created his greatest creation "Sistine Madonna"(1515-1519, Dresden, Art Gallery), intended for the church of St. Sixtus in Piacenza. Unlike the earlier, lighter in mood, lyrical Madonnas, this is a majestic image full of deep meaning. The curtains parted from above on the sides reveal Mary, easily walking through the clouds, with a baby in her arms. Her gaze allows you to look into the world of her experiences. Seriously and sadly, she looks into the distance, as if foreseeing the tragic fate of her son. To the left of the Madonna is depicted Pope Sixtus, enthusiastically contemplating a miracle, to the right - Saint Barbara, reverently lowering her gaze. Below are two angels, looking up and, as it were, returning us to the main image - the Madonna and her childishly thoughtful baby.

The impeccable harmony and dynamic balance of the composition, the subtle rhythm of smooth linear outlines, the naturalness and freedom of movement make up the irresistible strength of this integral, beautiful image.

The vital truth and traits of the ideal are combined with the spiritual purity of the complex tragic character of the Sistine Madonna. Some researchers found its prototype in the features of the “Lady in the Veil” (circa 1513, Florence, Pitti Gallery), but Raphael himself wrote in a letter to his friend Castiglione that his creative method was based on the principle of selection and generalization of life observations: “In order to to write a beauty, I need to see many beauties, but due to the lack ... in beautiful women, I use some idea that comes to my mind. Thus, in reality, the artist finds features that correspond to his ideal, which rises above the accidental and transient.

Raphael died at the age of thirty-seven, leaving unfinished paintings of the Villa Farnesina, the Vatican loggias and a number of other works completed on cardboard and drawings by his students. The free, graceful, unconstrained drawings of Raphael put forward their creator among the largest draftsmen in the world. His works in the field of architecture and applied art testify to him as a multi-talented figure of the High Renaissance, who gained great fame among his contemporaries. The very name of Raphael later turned into a common noun for an ideal artist.

Numerous Italian students and followers of Raphael erected the creative method of the teacher into an indisputable dogma, which contributed to the spread of imitation in Italian art and foreshadowed the impending crisis of humanism.

• Raphael Santi was born in the family of a court poet and artist, and he himself was a favorite painter of those in power, easily and comfortably feeling in a secular society. However, he was of low birth. He was orphaned at the age of 11, and his guardian sued his stepmother for years over the family property.
• The famous painter wrote the "Sistine Madonna" commissioned by the "black monks" - the Benedictines. He created his masterpiece on a huge canvas, alone, without the participation of students or assistants.
• The art historian Vasari, and after him other biographers of Raphael, say that the baker's daughter Margarita Luti, known as Fornarina, is embodied in the features of many "Madonnas". Some consider her a prudent debauchee, others - an honest lover, because of which the artist even refused to marry a woman of noble birth. But many art historians believe that all this is a romantic myth about love, and Raphael's true relationship with women is not known to anyone.
• The painting of the artist, called "Fornarina", depicting a model in a semi-nude form, became the object of passionate discussions among physicians. A bluish patch on the model's chest led to speculation that the model had cancer.
• The same Vasari conveys gossip that, being a papal painter, the artist actually did not believe in either God or the devil. This is unlikely, although the statement of one of the popes of that time is quite famous: “How much profit this fairy tale about Christ brought us!”

Bibliography

• Toynes Christoph. Raphael. Taschen. 2005
• Makhov A. Rafael. Young guard. 2011. (Life of wonderful people)
• Eliasberg N. E. Rafael. - M.: Art, 1961. - 56, p. - 20,000 copies. (reg.)
• Stam S.M. Florentine Madonnas of Raphael: (Questions of ideological content). - Saratov: Publishing House of Saratov University, 1982. - 80 p. - 60,000 copies.

When writing this article, materials from such sites were used:citaty.su ,

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Raphael is an artist with a monumental influence on how art developed. Rafael Santi is deservedly considered one of the three great masters of the Italian High Renaissance.

Introduction

The author of incredibly harmonious and serene canvases, he received recognition from his contemporaries thanks to the images of Madonnas and monumental frescoes in the Vatican Palace. The biography of Rafael Santi, as well as his work, is divided into three main periods.

For 37 years of his life, the artist created some of the most beautiful and influential compositions in the history of painting. Raphael's compositions are considered ideal, his figures and faces are impeccable. In the history of art, he appears as the only artist who managed to achieve perfection.

Brief biography of Rafael Santi

Raphael was born in the Italian city of Urbino in 1483. His father was an artist, but he died when the boy was only 11 years old. After the death of his father, Rafael became an apprentice in the workshop of Perugino. In his first works, the influence of the master is felt, but by the end of his studies, the young artist began to find his own style.

In 1504, the young artist Rafael Santi moved to Florence, where he was deeply admired by the style and technique of Leonardo da Vinci. In the cultural capital, he began the creation of a series of beautiful Madonnas; there he received his first orders. In Florence, the young master met da Vinci and Michelangelo, the masters who had the strongest influence on the work of Raphael Santi. Raphael also owes Florence an acquaintance with his close friend and mentor Donato Bramante. The biography of Rafael Santi in his Florentine period is incomplete and confusing - judging by historical data, the artist did not live in Florence at that time, but often came there.

Four years spent under the influence of Florentine art helped him achieve an individual style and unique painting technique. Upon arrival in Rome, Raphael immediately becomes an artist at the Vatican court and, at the personal request of Pope Julius II, works on frescoes for the papal office (Stanza della Segnatura). The young master continued to paint several other rooms, which today are known as "Raphael's rooms" (Stanze di Raffaello). After the death of Bramante, Raphael was appointed chief architect of the Vatican and continued the construction of St. Peter's Basilica.

Creativity Raphael

The compositions created by the artist are famous for their elegance, harmony, smoothness of lines and perfection of forms, with which only Leonardo's paintings and Michelangelo's works can compete. No wonder these great masters constitute the "unattainable trinity" of the High Renaissance.

Raphael was an extremely dynamic and active person, therefore, despite his short life, the artist left behind a rich legacy, consisting of works of monumental and easel painting, graphic works and architectural achievements.

During his lifetime, Raphael was a very influential figure in culture and art, his works were considered the standard of artistic excellence, but after the untimely death of Santi, attention switched to the work of Michelangelo, and until the 18th century, Raphael's legacy was in relative oblivion.

Creativity and biography of Rafael Santi are divided into three periods, the main and most influential of which are the four years spent by the artist in Florence (1504-1508) and the rest of the master's life (Rome 1508-1520).

Florentine period

From 1504 to 1508, Raphael led a nomadic lifestyle. He never stayed in Florence for a long time, but despite this, four years of life, and especially creativity, Raphael is commonly called the Florentine period. Much more developed and dynamic, the art of Florence had a profound effect on the young artist.

The transition from the influence of the Perugian school to a more dynamic and individual style is noticeable in one of the first works of the Florentine period - "Three Graces". Rafael Santi has managed to assimilate new trends while remaining true to his individual style. Monumental painting has also changed, as evidenced by the frescoes of 1505. The wall paintings show the influence of Fra Bartolomeo.

However, the influence of da Vinci on the work of Rafael Santi is most clearly seen during this period. Raphael assimilated not only the elements of technique and composition (sfumato, pyramidal construction, contraposto), which were innovations of Leonardo, but also borrowed some of the ideas of the already recognized master at that time. The beginning of this influence can be traced even in the painting "Three Graces" - Rafael Santi uses a more dynamic composition in it than in his earlier works.

Roman period

In 1508, Raphael came to Rome and lived there until the end of his days. Friendship with Donato Bramante, chief architect of the Vatican, provided him with a warm welcome at the court of Pope Julius II. Almost immediately after the move, Rafael began extensive work on frescoes for the Stanza della Segnatura. The compositions that adorn the walls of the papal office are still considered the ideal of monumental painting. The frescoes, among which the "School of Athens" and "The Dispute about the Communion" occupy a special place, provided Raphael with well-deserved recognition and an endless stream of orders.

In Rome, Raphael opened the largest Renaissance workshop - under the supervision of Santi, more than 50 students and assistants of the artist worked, many of whom later became outstanding painters (Giulio Romano, Andrea Sabbatini), sculptors and architects (Lorenzetto).

The Roman period is also characterized by the architectural research of Raphael Santi. For a short time he was one of the most influential architects of Rome. Unfortunately, few of the developed plans were realized due to his untimely death and subsequent changes in the architecture of the city.

Raphael Madonnas

During his rich career, Raphael created more than 30 canvases depicting Mary and the baby Jesus. The Madonnas of Raphael Santi are divided into Florentine and Roman.

The Florentine Madonnas are canvases created under the influence of Leonardo da Vinci depicting a young Mary with a baby. Often, next to the Madonna and Jesus, John the Baptist is depicted. The Florentine Madonnas are characterized by calmness and maternal charm, Raphael does not use dark tones and dramatic landscapes, so the main focus of his paintings are the beautiful, modest and loving mothers depicted on them, as well as the perfection of forms and harmony of lines.

Roman Madonnas are paintings in which, apart from the individual style and technique of Raphael, no more influence can be traced. Another difference between Roman paintings is the composition. While the Florentine Madonnas are depicted in three-quarters, the Roman ones are more often written in full growth. The main work of this series is the magnificent "Sistine Madonna", which is called "perfection" and compared to a musical symphony.

Raphael's Stanzas

The monumental canvases that adorn the walls of the papal palace (and now the Vatican Museum) are considered the greatest works of Raphael. It is hard to believe that the artist completed the Stanza della Segnatura in three and a half years. The frescoes, including the magnificent "Athenian School", are written in extremely detailed and high quality. Judging by the drawings and preparatory sketches, working on them was an incredibly time-consuming process, which once again testifies to the diligence and artistic talent of Raphael.

Four frescoes from the Stanza della Segnatura depict four areas of human spiritual life: philosophy, theology, poetry and justice - the compositions "Athenian school", "Dispute about the sacrament", "Parnassus" and "Wisdom, moderation and strength" ("Worldly virtues") .

Raphael was commissioned to paint two other rooms: the Stanza dell'Incendio di Borgo and the Stanza d'Eliodoro. The first contains frescoes with compositions describing the history of the papacy, and the second - the divine patronage of the church.

Rafael Santi: portraits

The portrait genre in the work of Raphael does not occupy such a prominent role as religious and even mythological or historical painting. The early portraits of the artist technically lag behind the rest of his canvases, but the subsequent development of technology and the study of human forms allowed Raphael to create realistic portraits imbued with the serenity and clarity characteristic of the artist.

The portrait of Pope Julius II painted by him is to this day an example to follow and an object of aspiration for young artists. The harmony and balance of the technical execution and the emotional load of the painting create a unique and deep impression, which only Rafael Santi could achieve. The photo today is not capable of what the portrait of Pope Julius II achieved in its time - the people who first saw him were frightened and cried, so perfectly Raphael managed to convey not only the face, but also the mood and character of the object of the image.

Another influential portrait performed by Raphael is "Portrait of Baldassare Castiglione", which Rubens and Rembrandt copied at one time.

Architecture

The architectural style of Raphael was subject to the quite expected influence of Bramante, which is why the short period of Raphael's tenure as the chief architect of the Vatican and one of the most influential architects of Rome is so important for maintaining the stylistic unity of buildings.

Unfortunately, few of the great master's building plans exist to this day: some of Raphael's plans were not carried out due to his death, and some of the projects already built were either demolished or moved and redone.

Raphael's hand belongs to the plan of the inner courtyard of the Vatican and the painted loggias overlooking it, as well as the round church of Sant' Eligio degli Orefici and one of the chapels in the church of St. Mary del Poppolo.

Graphic works

Painting by Rafael Santi is not the only type of fine art in which the artist has reached perfection. Most recently, one of his drawings (Head of a Young Prophet) was sold at auction for £29 million, becoming the most expensive drawing in the history of art.

To date, there are about 400 drawings belonging to the hand of Raphael. Most of them are sketches for paintings, but there are those that can easily be considered separate, independent works.

Among the graphic works of Raphael there are several compositions created in collaboration with Marcantonio Raimondi, who created many engravings based on the drawings of the great master.

Artistic heritage

Today, such a concept as the harmony of shapes and colors in painting is synonymous with the name Rafael Santi. The Renaissance acquired a unique artistic vision and almost perfect execution in the work of this remarkable master.

Raphael left an artistic and ideological legacy to posterity. It is so rich and varied that it is hard to believe, looking at how short his life was. Raphael Santi, despite the fact that his work was temporarily covered by a wave of Mannerism and then Baroque, remains one of the most influential artists in the history of world art.

Italy gave the world a huge number of great artists, architects, and graphic artists. Rafael Santi shines brightly among them. Known to the modern world as an architect, the artist left a rich legacy that surprises and delights true connoisseurs of art.

Biography

Various sources claim the birth of Raphael on March 26 or 28, 1483. According to others, April 6 is the birthday and death of the artist. Who to believe? Decide for yourself. Only the city where Rafael Santi was born is known: Urbino.

Childhood was overshadowed by the death of Margie Charla, the mother of the future artist. Father, Giovanni Santi, had to leave for his wife in 1894.

The first years of Rafael Santi's life left bright strokes on the mind of the boy, his preferences. The reason for such an impact of the outside world was the birth in the family of a court artist who worked under the Duke of Urbinsky. Here the young artist managed to take the first creative steps. The earliest work of the master of painting is the fresco "Madonna and Child", which has been kept in the house-museum for many years.

There are few results of creative research, independent search for a path. Among the first were the works of Rafael Santi for the church of Sant'Agostino, located in Citta di Castello:

• "Konfalon depicting the Holy Trinity" (circa 1499-1500)
• image for the altar “Coronation of St. Nicholas of Tolentino" (1500-1501)

1501 The young artist decides to continue his studies with Pietro Perugino, who lived and worked in Perugia. The influence of the master made adjustments to the work of Rafael Santi.

This period of Santi is filled with visits to Urbino, Citta di Castello, accompanying the teacher to Siena.

1504. There was an acquaintance with Baldassar Castiglione, after which he moved to Florence, where Rafael Santi lived for several years. Acquainted with Michelangelo, Leonardo da Vinci, other great Italian artists of this period, Santi gets acquainted with the technique of recognized geniuses, learns, absorbing knowledge and skills like a sponge. The thoughts of the young artist were absorbed by study, work on new paintings.

Drawings by Rafael Santi did not absorb completely. The second passion was architecture. The artist learned a lot from his mentors, who happily shared their experience and knowledge. The achievements of Rafael Santi surprised them.

He was later introduced to Bramante. Gradually acquiring acquaintances with outstanding people, the artist-architect improves his technique, and his popularity gradually grows.

Eleven months later, Santi decides to change the situation, moves to Rome. With the help of Bramante, the young creator manages to take the place of the official artist of the Pope's palace.

Italian artists did not stop at one art form. Perhaps it was they who turned the postulate into reality: truly talented people will show off their talents in various fields. Raphael spent a lot of time doing poetic research, creating sonnets dedicated to his beloved.

The biography of Rafael Santi includes marriage. At 31, a famous artist fell in love with a baker's daughter, so he proposed marriage. The girl agreed, becoming a faithful wife until the death of the artist.

According to the researchers, Raphael was interested in the architecture of the past. During excavations in Rome, the architect-explorer contracted a special type of Roman fever, which caused death on April 6, 1520. The disease claimed the 37-year-old genius, who managed to leave a deep mark in various fields of art in a short existence. The tomb of Raphael was decorated with an epitaph:

“Here lies the great Raphael, during his lifetime nature was afraid to be defeated, and after his death she was afraid to die”

Creation

The master created the first works to order from the church in 1499-1501. Perugia actually inspired the young artist to paint on religious themes, creating altarpieces and small canvases. But most of all, Rafael Santi was inspired by the image of the Madonna.

Paintings with the Madonna are the main line of the artist's work. They are presented at all stages of existence, revealing the soul of the creator to the viewer. All works, despite the unity of the plot, are individual.

By the twenty-second anniversary, the artist Rafael Santi is becoming popular. The young artist is approached to create images of saints, such as “St. Catherine of Alexandria" and others.

Rafael Santi: the most famous paintings

"Sistine Madonna", combining the unity of the mortal body, the Holy Spirit, birth, redemption of sins.

Raphael Santi - Sistine Madonna

"Three Graces". Depicts Love, Beauty and Innocence holding the apples of the Hesperides, embodying the beauty that has the ability to save the world.

Raphael Santi - The Three Graces

“Madonna Conestabile” is an image filled with tenderness, pure spirituality, lyrics, harmony, love.

Raphael Santi - Conestabile Madonna

"The School of Athens" is a canvas that unites the images of famous philosophers, teachers of Greek culture. The artist struck the picture of his contemporaries and descendants.

Raphael Santi - School of Athens

"Self-portrait". This is how Raphael saw himself (1506).

Rafael Santi - Self-portrait

"The Lady with the Unicorn" sings of the beauty and miracle of the purity of the spirit and body.

Raphael Santi - Lady with a Unicorn

"Transformation". The last masterpiece, an unfinished canvas, begun by the master shortly before his death. This picture stood at the head of a genius at the funeral.

Raphael Santi - Transfiguration

"Beautiful gardener" An enchanting image of the Madonna taking care of the world, like a good gardener taking care of an orchard.

Raphael Santi - Beautiful gardener

"Donna Velata". A gentle image of a wife who lived with Raphael until her death and went to a monastery to remain faithful to her husband.

Rafael Santi - Donna Velata
Raphael Santi - Marriage of the Virgin Mary

"Madonna in the chair", personifying beauty, purity of soul, the joy of motherhood.

Rafael Santi - Madonna in the chair
Raphael Santi - Madonna in the Green

"Madonna with a Veil". A gentle, peaceful image that indicates family values, which are the main treasures given to people by the Creator.

Raphael Santi - Madonna with a Veil

The Knight's Dream is an image that contains the eternal choice between pleasure and virtue.

Rafael Santi - The Knight's Dream

"Madonna Alba", belonging for a long time to the Spanish family of the same name and embodying the unity of the soul, body and Spirit, knowledge of the coming path, readiness to follow it.

Raphael Santi - Alba Madonna Category