Raffaello Santi. Raphael - paintings and frescoes

RAFAEL DE VALENTIN

RAFAEL DE VALENTIN (French Raphael de Valentin) is the hero of O. de Balzac’s story “Shagreen Skin” (1831), included in the “Human Comedy” (section “Philosophical Studies”). R. de V. is an autobiographical figure; in this way, Balzac seemed to suggest his own fate: he shortened his life with backbreaking literary work and “burned out” just like his hero; however, without any influence of a magical talisman. Among the literary prototypes of R. de V. are Goethe's Faust or C. Meturen's Melmoth the Wanderer - heroes who entered into an agreement with the devil. At the beginning of his life, R. de V. is a poor young ambitious man, of which there are many in the “Human Comedy”. R. de V. has a noble origin; he bears the title of marquis, but this does not add money to him. The unsuccessful end of the trial deprives R. de V. of his fortune, and he decides to live “in labor and silence,” hoping to win fame and money with his own labor. He bets on two literary works, which he expects to complete within three years: a comedy intended for the general public, and a scholarly treatise. The treatise is called "The Theory of the Will"; By entrusting R. de V. with this topic, Balzac once again emphasizes his closeness with the hero; he himself considered the will, spreading in space in the form of invisible and weightless fluids, to be a powerful force, to the influence of which all living beings are subject; he trusted his favorite heroes to think about this subject, for example Louis Lambert, the hero novel of the same name, who also wrote a treatise on the will. A chance meeting with a friend forces R. de V. to change his reclusive lifestyle and try to achieve success differently, moving in the world and conquering women's hearts. This is how R. de V. meets the rich Countess Theodora - “a woman without a heart.” For the sake of this cold, secular beauty, R. de V. forgets about creativity and science, spends his last money, and in return receives indifferent courtesy, because Theodora loves only herself. In despair, R. De V. wants to commit suicide. Before his death, he accidentally enters an antique dealer's shop, and suicide is postponed: the antique dealer gives R. de V. a magical piece of shagreen leather. Thanks to the skin, all desires are fulfilled, but from each desire the skin shrinks, and the life of its owner is shortened. Balzac was always concerned with the problem of economy vitality; he himself spent them without counting, but always with constant admiration he recalled, for example, the philosopher Fontenelle, who lived a hundred years because he “saving his vital fluid.” Shagreen skin is the materialization of these ideas that life can be wasted in a short time, or it can be consumed sparingly. At first, R. de V. does not believe in the power of the talisman, but very soon he becomes convinced that the antiquarian did not lie: his wishes are fulfilled, he becomes the owner of untold wealth - but his skin shrinks. Meanwhile, R. de V. no longer wants to die; he is faced with a choice: to live for his own pleasure, but thereby doom himself to a quick death, or to “castrate his imagination” and voluntarily turn himself off from life. The sense of self-preservation turns out to be stronger, and R. de V. gives up his desires. He chooses the old servant Jonathan as a mediator between himself and the world, who must anticipate his needs even before they are expressed. For a while, R. de V. breaks up with this “automatic” state: he meets Pauline Godin at the theater, who fell in love with him back at the time when he led the life of a poor hermit. Then R. de V. could not fall in love with Polina, since for him “love is inseparable from luxury,” but now the girl’s father became rich, and she became worthy of R. de V.’s attention. Moreover, in order to conquer Polina, R. de V. There is no need to resort to the help of a talisman, because Polina adores him without any magic. R. de V. is happy with Polina, but living life produces petty desires, the skin decreases in size, and its owner feels worse and worse. He turns to scientists in the hope of stretching the magical skin, but neither a zoologist, nor a chemist, nor a physicist can cope with shagreen. R. de V. asks doctors to cure him, but they admit their own helplessness. Then the unfortunate man tries to save himself: he settles in a remote Auvergne village in order to “join the inner life of nature, to be imbued with its passive humility” and “to free himself from himself.” Almost all romantic heroes, starting with Rene Chateaubriand, dreamed of living in the lap of nature, among “natural people,” and thus getting rid of the passions that tormented them. The escape of R. de V. is a kind of parody of such romantic escapades. His rural existence has absolutely nothing poetic in it, he leads an animal lifestyle, but still continues to waste away and, returning to Paris, dies in the arms of Polina, unable to resist his last desire, which turned out to be fatal.

Like almost all the heroes of Balzac's Philosophical Etudes, R. de V. is a martyr of thought. His obsession - the desire to gain power over his own destiny (it was not for nothing that he wrote a treatise on will) - was embodied in a piece of skin, and this skin destroyed him, just as the hero of “The Quest for the Absolute” destroyed the dream of finding a single substance common to all substances, and the hero “ unknown masterpiece” - the dream of painting an ideally beautiful woman on canvas. Meanwhile, Balzac was sure that “our ideas are organized, integral beings that live in the invisible world and influence our destinies”; Thanks to the magical skin, the ideas (desires) of R. de V. become such active, fateful and fatal creatures. It is no coincidence that at the end of his life R. de V. comes to the conclusion that even with the help of a talisman he did not accomplish anything great: the powerful skin fulfilled only what he asked for, and he didn’t have the mental strength to ask for something great. The shagreen skin revealed only the boundless selfishness of its owner.

Immediately after the release of “Shagreen Skin,” two trends emerged in the interpretation of the image of R. de V., which continued in subsequent years. French writer Philaret Chals, author of the preface to “ Philosophical novels and stories" by Balzac (1831), saw in R. de V., first of all, the "embodiment of civilized egoism" of modern society with its weakness, unbelief and vanity, "a symbol of appalling poverty", "a penniless dandy." According to Chall, in R. de V. the sense of self-preservation kills all other feelings and ideas, and he dies “in convulsions of egoism.” Another preface to the “Philosophical Etudes” (1834), signed by Felix Daven and indebted to Balzac himself for many thoughts, highlights in the history of R. de V. its philosophical, metaphysical aspect: thought and will are living forces, they have a murderous energy that can destroy person. R. de V. was killed not so much social conditions life or negative character traits, as much as the terrible power of thought. His destiny is the “formula of life.” Subsequently, all researchers who turned to the image of the main character of “Shagreen Skin” followed one of these two interpretations: social or metaphysical.

Lit.: Bakhmutsky V.Ya. “...Our age... our selfishness...”

//Balzac O. de. Shagreen leather. M., 1983. P.5-30; Citron P. Introduction pour “La Peau de chagrin”

//Balzac H. de. La Comedie humaine. P., 1979. T.10. P.5-45.

V.A.Milchina

Literary heroes. - Academician. 2009 .

Raphael Santi (1483-1520) is the greatest Italian artist, architect and graphic artist.

Childhood and adolescence

Raphael was born on March 14, 1483. This happened in eastern Italy in the small town of Urbino on the night of Good Friday. The child's father, Giovanni dei Santi, was engaged in poetry and painting; he was a gifted but undistinguished artist; he worked at the court of the Duke of Montefeltro.

The boy's mother, Margie Charla, died very early. Rafael was only 8 years old at the time. Didn't pass three years, how his father passed away in 1494. But Giovanni managed to direct the children in the right direction; his workshop had their first artistic experience Raphael also received it.

The boy was still very young when his father discovered his artistic talent and inclination for art and began to train his son in painting. And very soon he received an assistant in the person of young Raphael, the child was not even ten years old when he and his father painted pictures commissioned by the Urbino state. Raphael's very first work is considered to be the fresco "Madonna and Child", which he made together with his father.

Raphael's first independent works were paintings commissioned for the church:

• “A banner with the image of the Holy Trinity” (the canvas was written in 1499-1500);
• "Coronation of St. Nicholas of Tolentino" (Santi worked on this altar image in 1500-1501).

Study in Perugia

In 1501, Santi entered Perugia to further study painting with the artist Pietro Perugino, who at that time occupied a leading position among Italian masters. The young student thoroughly studied the style of his teacher, and began to imitate it so decisively and accurately that soon copies of Raphael could not be distinguished from the original paintings of the famous Perugino.

With the utmost skill, Santi completed the work for Madame Magdalena degli Oddi (not with paint on canvas, but with oil on wood). Now this creation is in the Church of San Francesco in Perugia, it depicts the Mother of God, Jesus Christ and the twelve apostles around the tomb, contemplating a heavenly vision.

Raphael's early works of that period also include paintings:

• "Three Graces";
• "Archangel Michael Slaying Satan";
• "A Knight's Dream"
• "The Sermon of Saint John the Baptist."

While studying in Perugia, Raphael often came home to the Urbino town of Citta de Castella, where, together with the Italian artist Pinturicchio, he made commissioned works.

In 1502, Santi painted his very first “Madonna Solly”, then he painted them until the end of his life.

By 1504, the artist had already developed a certain style, his first significant work:

• “Betrothal of the Virgin Mary to Joseph”;
• "Portrait of Pietro Bembo";
• "Madonna Conestabile";
• "Saint George Slaying the Dragon";
• "Coronation of Mary".

Florentine period of life

In 1504, Raphael left Perugia. He headed to Florence, this move played into creative development the artist has a huge role. Here he began to carefully study the works of Bartolomeo della Porta, Michelangelo, Leonardo da Vinci and other Florentine painters. Santi thoroughly studied the mechanics and anatomy of human movements, complex angles and poses, and worked a lot with nature.

His paintings from the Florentine period already showed the complex formulas of agitated and dramatic human movement that Michelangelo had previously developed.

In 1507, Santi wrote another masterpiece, “Entombment.”

Raphael's popularity began to grow, he received many orders for portraits and images of saints.

But the main theme in his Florentine paintings was the Madonna and Child; he painted about 20 paintings. Despite the standard scenes, the Madonna holding a baby in her arms or playing next to her with John the Baptist, all images are absolutely individual. A special maternal tenderness is visible in these works. Most likely, it was due to the fact that Raphael’s mother died very early, such a loss was deeply reflected in the artist’s soul; he did not receive all the affection and kindness from the woman who gave him life.

The Madonnas depicted in his paintings led to Raphael's success and fame. He received a huge number of orders on similar topics, during this period Santi wrote his best works:

• "Madonna Granduca";
• "Madonna under the canopy";
• "The Beautiful Gardener" (or "Madonna and Child and John the Baptist");
• "Madonna Terranuova";
• "Madonna with Carnations";
• "Madonna with the Goldfinch."

Santi spent four years in Florence, during which time he achieved a unique technique in painting and individuality in style. Many of his works of this period are considered the most beautiful and ideal in the history of world painting; he painted impeccable figures and faces.

In Florence, Santi met and became friends with Donato Bramante, who later played a significant role in the artist’s life.

Vatican

In 1508, Santi left Florence, he went to Rome, where he lived all his remaining years.

Here, with the help of his friend Bramante, Raphael was hired to work at the papal court as an official artist. He began to paint frescoes and brilliantly painted the Stanza della Segnatura with multi-figure compositions. Pope Julius II was pleased with his work. Santi had not yet completed one stanza when the Pope entrusted him with painting three more; Moreover, the painters who had already begun to paint them (Perugino and Signorelli) were suspended from work.

There were a lot of orders, and Santi took students to help him. He made the sketches himself, and his students helped him in painting.

In 1513, Julius II was replaced by Leo X, he also appreciated Raphael’s abilities and entrusted him with making cardboards for the Sistine Chapel, where they would depict Bible stories. Leo X also commissioned the artist to create loggias that overlook the Vatican courtyard. Over the course of 5 years, these loggias of 13 arcades were built according to Santi’s ideas. Then the artist made sketches of Biblical scenes, and his students decorated the loggia with 52 frescoes.

In 1514, Raphael's friend and mentor Donato Bramante died. At this time, construction of St. Peter's Cathedral had just begun in Rome, and Santi was appointed to the position of chief architect. And a year later, in 1515, he was approved as the chief custodian of antiquities. It was Raphael, who succeeded the deceased Bramante, who completed the famous Vatican courtyard with loggias.

The workload in the Vatican was crazy, but at the same time Santi still managed to work on altar images on orders from churches. His painting “Transfiguration” is considered the most majestic and masterpiece.

Santi did not forget about his favorite topic - Madonna. During the time he lived in Rome, he created about 10 images:

• "Madonna in a Chair";
• "Madonna with the Fish";
• "Madonna Alba";
• "Madonna Foligno".

Here he created the pinnacle of his creativity - the Sistine Madonna.

This painting is considered phenomenal, no one will ever be able to unravel the secret of the great artist, how he managed to combine all the shades, shapes and lines into a single whole, that when looking at this picture there is only one irresistible desire - to continuously look into the sad eyes of Mary .

Most of Raphael's paintings were painted on religious themes. But his work also included portraiture. The following were especially beautifully created:

• "Portrait of Pope Julius II";
• "Portrait of Baldassare Castiglione";
• "Portrait of Bindo Altoviti";
• "Portrait of Leo X with Cardinals Giulio de' Medici and Luigi Rossi";
• "Portrait of Cardinal Alessandro Farnese."

Raphael last depicted himself in the painting “Self-Portrait with a Friend.”

A great lover of painting, the owner of the bank, Agostino Chigi, suggested that Santi decorate his residence outside the city, built on the banks of the Tiber, with frescoes on the theme of ancient mythology. While working on this order, the artist created his best work, which is called the most beautiful of the beautiful, “The Triumph of Galatea.”

Raphael had a lot of students, however, none of them became an outstanding artist. Giulio Romano had the greatest talent, but his work was not appreciated by his contemporaries. Several paintings were painted by Giovanni Nanni. Perin del Vaga, who worked in Genoa and Florence, turned out to be a good artist. Francesco Penni had excellent potential, but he died very early.

Raphael's other talents

Santi proved himself to be no less a professional in architecture. The churches, chapels, and palazzos built according to his design were distinguished by their grace, rich façade plasticity, restrained noble forms and intimate interiors. Each palace he created had an individual, elegant appearance.

Santi was also involved in engravings and drawings. About 400 of his drawings have survived to this day. Raphael did not make the engravings themselves, but created sketches for them. Marcantonio Raimondi made many engravings based on his drawings. One of Santi's graphic works, entitled "Head of a Young Apostle", was sold at Sotheby's at the end of 2012 for a record sum of £29,721,250 (this figure was twice the starting price).

Raphael loved poetry very much, he even wrote a little poetry himself.

Personal life

The great artist’s beloved was his model Margherita Luti, who received the nickname Fornarina.

The girl can be seen in two of his paintings “Donna Velata” and “Fornarina”, and he painted her figure when painting stanzas with frescoes.

Fornarina's father was a baker, they lived in Rome. When young Rafael arrived here, he met Fornarina completely by chance and immediately fell in love. For 3,000 gold pieces, he bought the girl from her father and took her to a villa specially rented for her.

Until the artist's death, Fornarina was his model and main love throughout their lives, for almost 12 years, they lived together, although it cannot be said that the young woman remained faithful to her Raphael. When Santi was painting the villa for the banker Agostino Chigi, Fornarina began an affair with the owner. She was also often not averse to having fun with Raphael's students.

I wrote a picture about this beautiful love story French artist Jean-Auguste-Dominique Ingres, it’s called “Raphael and Fornarina”.

The exact further fate of Fornarina after the death of Raphael is unknown. There are two versions. According to one, she received a decent fortune under a will, led a dissolute life and became the most famous courtesan in Rome. According to the second version, she was tonsured a nun, where she soon died.

Death of an Artist

It is not known for certain why Rafael Santi died. Some sources claim that he felt ill after a stormy night in bed with Fornarina. Modern researchers his life, it has been suggested that the artist visited the excavations and fell ill with Roman fever there, which led to his death.

Santi died on April 6, 1520, barely reaching the age of 37. His body was buried in the Pantheon, the tomb was made with the epitaph: “The great Raphael rested here; during his life nature was afraid of being defeated, and after his death she was afraid to die.”

There is a crater on the planet Mercury that is named after the great Italian Raphael Santi.

Raphael (actually Raphael Santi), one of the greatest painters of modern times, was born on April 6, 1483 in Urbino. He received his first artistic education from his father, the painter Giovanni Santi, and after his death in 1494 he continued with the Umbrian painter P. Perugino. The first paintings of Raphael date back to the time of his stay with Perugino. They all wear general character tender and deep religious dreaminess of the Umbrian school. But already in “The Betrothal of the Virgin Mary” (Sposalizio), written at the end of this period, the features of Raphael’s beginning to take shape shine through this character.

Raphael. Betrothal of the Virgin Mary. 1504

Florentine period of Raphael's work

With the arrival of Raphael from quiet Umbria to Florence, in 1504, the second period of his artistic activity begins. The works of Michelangelo, Leonardo da Vinci and Fra Bartolomeo, Florence itself - the center of everything graceful and beautiful - all this had a strong influence on artistic development Raphael, Wondering at the strength of Michelangelo, he, however, sided with Leonardo da Vinci and Fra Bartolomeo and devoted himself zealously to the study of the old Florentines. The subtle feeling and faithful transmission of emotional movements, the charm of figures and play of tones that distinguish the paintings of Leonardo da Vinci, the reverent expression and skillful arrangement of groups, the knowledge and depth of impression that is inherent in Fra Bartolomeo, were reflected in the works of Raphael of this period, but did not deprive them of clear already emerging individuality. Often submitting to other people's influences, Raphael always took only what was related and useful to him, being able to maintain a sense of proportion.

Raphael. Three Graces. 1504-1505

The Florentine period of Raphael’s work begins with the allegorical paintings “The Three Graces” and “The Knight’s Dream”.

Raphael. Allegory (A Knight's Dream). OK. 1504

The famous panels on the theme of the battles of St. Michael and St. George with the dragon, the paintings “Christ Blessing” and “St. Catherine of Alexandria” also date back to this time.

Raphael. Saint Catherine of Alexandria. 1508

Madonnas by Raphael

But in general, the time Raphael spent in Florence is the era of Madonnas par excellence: “Madonna of the Goldfinch”, “Madonna of the House of Tempi”, “Madonna of the House of Colonna”, “Madonna del Baldachino”, “Madonna of Granduca”, “Madonna of Canigiani”, “ Madonna Terranuova”, “Madonna in the Green”, the so-called “Beautiful Gardener” and the composition “The Entombment of Christ”, excellent in drama, are Raphael’s main works for this period.

Raphael. Madonna of the Greens, 1506

Here in Florence, Raphael takes up portraits and paints portraits of Agnolo and Maddalena Doni.

Raphael. Portrait of Agnolo Doni. 1506

The Roman period of Raphael's work

Harmoniously merging all influences together and translating them, Raphael gradually moves forward and reaches his highest perfection in the third period of his activity while in Rome. At the direction of Bramante, in 1508 Raphael Santi was summoned to Rome by Pope Julius II to decorate some Vatican halls with frescoes. The grandiose tasks that presented themselves to Raphael inspired him with a consciousness of his own strength; the proximity of Michelangelo, who simultaneously began painting the Sistine Chapel, aroused noble competition in him, and the world of classical antiquity, revealed in Rome more than anywhere else, gave his activity a sublime direction and gave plastic completeness and clarity for the expression of artistic ideas.

Painting by Raphael in Stanza della Segnatura

Three chambers (stanza) and one large hall of the Vatican are covered on the vaults and walls with frescoes by Raphael, and therefore are called “Raphael’s Stanzas”. In the first rest (Stanza della Segnatura) Raphael depicted the spiritual life of people in its highest directions. Theology, philosophy, jurisprudence and poetry float in the form of allegorical figures on the ceiling and serve as titles for four large compositions on the walls. Under the figure of Theology on the wall is the so-called “La Disputa” - The Dispute about St. Eucharist - and opposite it is the so-called “School of Athens”. The first composition brings together representatives of Christian wisdom into groups, the second - pagan, and thus characteristically reflected the Italian Renaissance. In "The Dispute" the action takes place simultaneously on earth and in heaven. In heaven sits Christ among the Mother of God and John the Baptist, somewhat lower than him are the apostles, prophets and martyrs; above Christ is God the Father with power, surrounded by angels, below Christ is the Holy Spirit in the form of a dove. On the ground in the center of the picture is an altar prepared for the offering of a bloodless sacrifice, and around it are church fathers, religious teachers and ordinary believers in several lively groups. Everything is calm in the sky; here on earth everything is full of excitement and struggle. The four Gospels, carried by angels, serve as mediators between earth and heaven.

Raphael. Dispute about the Eucharist (Dispute). 1510-1511

The stage of the “School of Athens” is an antique portico decorated with statues. In the middle are two great thinkers: the idealist Plato, who raises his hand and thought to the sky, and the realist Aristotle, who looks at the earth. They are surrounded by attentive listeners. Under the figure of Jurisprudence on the wall cut through the window, three figures are placed at the top, above the window, personifying prudence, strength and moderation, and on the sides of the window - on the left Emperor Justinian, receiving pandects from the kneeling Tribonian, on the right - Pope Gregory VII, presenting decretals to a lawyer .

Raphael. School of Athens, 1509

Opposite this fresco, under the figure of poetry, is “Parnassus,” on which great ancient and modern poets are gathered.

Painting by Raphael in Stanza di Eliodoro

In the second chamber (di Eliodoro), on the walls, with strong dramatic inspiration, are depicted “The Expulsion of Heliodorus from the Temple,” “The Miracle at Bolsena,” “The Release of the Apostle Peter from Prison,” and “Attila, stopped in his attack on Rome by the admonitions of Pope Leo I and the terrible appearance of the apostles Peter and Paul."

Raphael. Expulsion of Heliodorus from the Temple, 1511-1512

These works represent divine intercession, protecting the church from enemies external and internal. When painting this room, Raphael for the first time resorted to the help of his favorite student Giulio Romano.

Raphael. Meeting of Pope Leo I and Attila, 1514

Painting by Raphael in the Stanza del Incendio

The third chamber (dell "Incendio) is decorated with four wall frescoes depicting the fire in Borgo, stopped by the word of the pope, the victory over the Saracens at Ostia, the oath of Leo III and the coronation of Charlemagne. Only the first of them undoubtedly belongs entirely to Raphael, the rest were painted by his students according to him cardboards, which sometimes Raphael did not have time to give the final finishing.

Painting by Raphael in the Hall of Constantine

In the adjacent Hall of Constantine, finally, next to other scenes from the life of Constantine the Great, the champion of the church and the founder of its secular power, Raphael created a powerful image of the battle of Constantine - one of the majestic battle paintings of the new art, although it was executed for the most part Giulio Romano.

Raphael. Battle of Constantine the Great on the Milvian Bridge, 1520-1524

Painting by Raphael in the Vatican Loggias

Without finishing the stanza, Raphael had to begin decorating the Vatican loggias - open galleries surrounding the courtyard of St. Damasus on three sides. For the loggias, Raphael made 52 sketches of scenes from the Old and New Testaments, known as the “Raphael Bible”. If we compare this Bible with the biblical paintings of Michelangelo in the Sistine Chapel, then the entire contrast between the gloomy tragedian and lyricist Michelangelo and the calm epic Raphael, who gives preference to the gratifying, the idyll, and grace, clearly appears.

Tapestries for the Sistine Chapel

Raphael's third extensive work in Rome was cartons of scenes from the Acts of the Apostles for 10 tapestries in Sistine Chapel, commissioned by Pope Leo X. In them, Raphael is one of the greatest masters historical painting. At the same time, Raphael painted “The Triumph of Galatea” in the Villa Farnesine and made sketches from the history of Psyche for the gallery of the same villa, managing to draw up drawings for dishes and boxes of incense at the request of the pope.

Life of Raphael in Rome

In 1514, Leo X appointed Raphael as chief observer of the construction of St. Peter's Cathedral, and in 1515 as guardian of ancient monuments extracted from excavations in Rome. And Raphael still found time to execute a number of excellent portraits and large paintings, During this Roman period he created among other things; portraits of Julius II and Leo X; Madonnas: “With the Veil”, “della Sedia”, “di Foligno”, “from the House of Alba” and the most perfect of the Madonnas – “Sistine”; “Saint Cecilia”, “Carrying the Cross” (Lo Spasimo di Sicilia) and “Transfiguration”, unfinished after the artist’s death. But even now, among the many works, at the height of his fame, Raphael just as diligently prepared for each painting, carefully considering numerous sketches. And with all this, Raphael has been involved in architecture a lot in recent years: according to his plans, several churches, palaces, and villas were built, but for the Cathedral of St. He managed to do little of Peter. In addition, he made drawings for sculptors, and he himself was no stranger to sculpture: Raphael owns a marble sculpture of a child on a dolphin in the St. Petersburg Hermitage. Finally, Raphael was carried away by the thought of restoring ancient Rome.

Raphael. Sistine Madonna, 1513-1514

Overwhelmed with work since 1515, Raphael did not have a moment of peace. He did not need money, not having time to spend his earnings. Leo X made him his chamberlain and knight of the golden spur. Raphael was connected with many of the best representatives of Roman society by bonds of friendship. When he left the house, he was surrounded by a crowd of about 50 of his students, who hung on every word of their beloved teacher. Thanks to the influence of Raphael’s peaceful character, free from envy and ill will, this crowd formed a friendly family without envy and quarrels.

Death of Raphael

On April 6, 1520, Raphael died at the age of 37 from a fever that he contracted during excavations; it was fatal to his body, exhausted by extraordinary stress. Raphael was not married, but was engaged to the niece of Cardinal Bibbiena. According to Vasari, until his death Raphael was passionately attached to his beloved Fornarina, the daughter of a baker, and her features seem to have formed the basis for the face of the Sistine Madonna. Rumor has it that the reason early death Raphael had an immoral life, appeared later and was not based on anything. Contemporaries speak with deep respect of Raphael's moral character. Raphael's body was buried in the Pantheon. In 1838, due to doubts, the tomb was opened, and the remains of Raphael were found completely intact.

Features of Raphael's creativity

What is striking about Raphael Santi’s work is, first of all, the artist’s inexhaustible creative imagination, the likes of which we do not see in such perfection in anyone else. The index of individual paintings and drawings by Raphael covers 1225 numbers; in all this mass of his works one cannot find anything superfluous, everything breathes simplicity and clarity, and here, as in a mirror, the whole world is reflected in its diversity. Even his Madonnas are extremely different: from one artistic idea - the image of a young mother with a child - Raphael was able to extract so many perfect images in which it can manifest itself, Another distinguishing feature Raphael's creativity is a combination of all spiritual gifts in wonderful harmony. Raphael has nothing dominant, everything is combined in extraordinary balance, in perfect beauty. The depth and strength of the design, the effortless symmetry and completeness of the compositions, the remarkable distribution of light and shadow, the truthfulness of life and character, the beauty of color, the understanding of the naked body and drapery - everything is harmoniously combined in his work. This multifaceted and harmonious idealism of the Renaissance artist, having absorbed almost all movements, in its own way creative power did not submit to them, but created his own original, clothed it in perfect forms, merging the Christian piety of the Middle Ages and the breadth of vision of the new man with the realism and plasticity of the Greco-Roman world. Of the large crowd of his disciples, few rose above mere imitation. Giulio Romano, who took a significant part in Raphael's works and graduated from the Transfiguration, was Raphael's best student.

Raphael. Transfiguration, 1518-1520

The life and work of Raphael Santi is described in the book by Giorgio Vasari “Biographies of the Most famous painters, sculptors and architects" (“Vite de" più eccellenti architetti, pittori e scultori”), 1568.

Rafael Santi (Raffaello Santi) is an Italian artist, master of graphics and architectural solutions, representative of the Umbrian school of painting.

Raphael Santi was born at three o'clock in the morning into the family of an artist and decorator on April 6, 1483 in the Italian city (Urbino). It is the cultural and historical center of the region (Marche) in eastern Italy. The resort towns of Pesaro and Rimini are located near Raphael's birthplace.

Parents

The father of the future celebrity, Giovanni Santi, worked in the castle of the Duke of Urbino Federico da Montefeltro, his mother Margie Charla did housework.

The father early noticed his son's ability to paint and often took him with him to the palace, where the boy communicated with such famous artists as Piero della Francesca, Paolo Uccello and Luca Signorelli.

School in Perugia

At the age of 8, Rafael lost his mother and was brought into the house by his father new wife Bernardina, who showed no love for someone else's child. At the age of 12, the boy was left an orphan., having lost his father. The trustees sent the young talent to study with Pietro Vannucci in Perugia.

Until 1504, Raphael was educated at the school of Perugino, enthusiastically studying the teacher’s skills and trying to imitate him in everything. Friendly, charming, and devoid of arrogance, the young man made friends everywhere and quickly adopted the experience of his teachers. Soon his works became impossible to distinguish from the works of Pietro Perugino.

Raphael's first famous masterpieces were paintings:

1. “The Betrothal of the Virgin Mary” (Lo sposalizio della Vergine), 1504, exhibited in the Milan Gallery (Pinacoteca di Brera);
2. “Madonna Connestabile”, 1504, belongs to the Hermitage (St. Petersburg);
3. “The Dream of a Knight” (Sogno del cavaliere), 1504, the painting is exhibited in the National Gallery in London;
4. “The Three Graces” (Tre Grazie), 1504, is exhibited at the Musée Condé in Château de Chantilly, France;

The influence of Perugino is clearly visible in the works, own style Raphael started creating a little later.

In Florence

In 1504, Raphael Santi moved to (Firenze), following his teacher Perugino. Thanks to the teacher, the young man met the architectural genius Baccio d'Agnolo, the outstanding sculptor Andrea Sansovino, the painter Bastiano da Sangallo and his future friend and protector Taddeo Taddei. . A meeting with Leonardo da Vinci had a significant impact on Raphael's creative process. A copy of the painting “Leda and the Swan” belonging to Raphael has survived to this day (unique in that the original itself has not survived).

Under the influence of new teachers, Rafael Santi, while living in Florence, creates more than 20 Madonnas, putting into them his longing for the love and affection he did not receive from his mother. The images breathe love, are tender and sophisticated.

In 1507, the artist took an order from Atalanta Baglióni, whose only son died. Rafael Santi creates the painting “Entombment” (La deposizione), last job in Florence.

Life in Rome

In 1508, Pope Julius II (Iulius PP. II), in the world - Giuliano della Rovere (Giuliano della Rovere) invites Raphael to Rome to paint the old Vatican Palace. From 1509 until the end of his days, the artist worked, putting all his skill, all his talent and all his knowledge into his work.

When the architect Donato Bramante died, Pope Leo X (Leo PP. X), in the world - Giovanni Medici, from 1514 appointed Raphael as the leading architect of the construction (Basilica Sancti Petri), in 1515 he also becomes a custodian of valuables. The young man took responsibility for the census and preservation of monuments. For the Temple of St. Peter, Raphael drew up a different plan and completed the construction of a courtyard with loggias.

Other architectural works of Raphael:

• Church of Sant’Eligio degli Orefici, built on the street of the same name in , construction began in 1509.
• Chigi Chapel (La cappella Chigi) of the church (Basilica di Santa Maria del Popolo), located in Piazza del Popolo. Construction began in 1513 and was completed (by Giovanni Bernini) in 1656.
• Palazzo Vidoni-Caffarelli in Rome, located at the intersection of Piazza Vidoni and Corso Vittorio Emanuele. Construction began in 1515.
• The now ruined Palazzo Branconio dell'Aquila was located in front of St. Peter's Basilica. Construction was completed in 1520.
• The Pandolfini Palace in Florence on Via San Gallo was built by the architect Giuliano da Sangallo according to the sketches of Raphael.

Pope Leo X was afraid that the French might lure talented artist, so I tried to give him as much work as possible, without stinting on gifts and praise. In Rome, Rafael Santi continues to paint Madonnas, without departing from his favorite theme of motherhood.

Personal life

The paintings of Rafael Santi brought him not only the fame of an outstanding artist, but also a lot of money. He never lacked both the attention of royalty and financial resources.

During the reign of Leo X he acquired luxury home in an antique style, built according to our own design. However, multiple attempts to marry the young man by his patrons led nowhere. Raphael was a great admirer of female beauty. On the initiative of Cardinal Bibbiena, the artist was engaged to his niece Maria Dovizi da Bibbiena, but the wedding did not take place. the maestro did not want to tie the knot. The name of one famous mistress of Raphael is Beatrice from (Ferrara), but most likely she was an ordinary Roman courtesan.

The only woman who managed to win the heart of a wealthy womanizer was Margherita Luti, the daughter of a baker, nicknamed La Fornarina.

The artist met a girl in the Chigi garden when he was looking for an image for “Cupid and Psyche.” Thirty-year-old Raphael Santi painted (Villa Farnesina) in Rome, which belonged to his wealthy patron, and the beauty of a seventeen-year-old girl suited this image perfectly.

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The girl’s father allowed his daughter to pose for the artist for 50 gold pieces, and later for 3,000 gold pieces he allowed Raphael to take her with him. For six years, the young people lived together, Margarita never ceased to inspire her admirer with new masterpieces, including:

• “Sistine Madonna” (“Madonna Sistina”), Gallery of Old Masters (Gemäldegalerie Alte Meister), Dresden, Germany, 1514;.;
• “Donna Velata” (“La Velata”), Palatine Gallery (Galerie Palatine), ( Palazzo Pitti), Florence, 1515;
• “Fornarina” (“La Fornarina”), Palazzo Barberini, Rome, 1519;

After Raphael's death, young Margarita received lifelong maintenance and a house. But in 1520 the girl became a novice in the monastery, where she later died.

Death

Raphael's death left many mysteries. According to one version, the artist, tired of his nightly adventures, returned home in a weakened state. The doctors were supposed to support his strength, but they performed bloodletting, which killed the patient. According to another version, Raphael caught a cold during excavations in the underground burial galleries.

On April 6, 1520, the maesto passed away. He was buried in the (Pantheon) with due honors. Raphael's tomb can be seen during the sightseeing tour of Rome at dawn.

Madonnas

Imitating his teacher Pietro Perugino, Raphael painted a gallery of forty-two paintings of the Virgin and Child. Despite the variety of storylines, the works are united by the touching beauty of motherhood. The artist transfers the lack of maternal love onto the canvases, strengthening and idealizing the woman who anxiously protects the baby angel.

Raphael Santi's first Madonnas were created in the quattrocento style, common during the early Renaissance in the 15th century. The images are constrained, dry, human figures are presented strictly frontally, the gaze is motionless, there is calmness and solemn abstraction on their faces.

The Florentine period introduces feelings into the images of the Mother of God, anxiety and pride for her child are manifested. The landscapes in the background become more complex, and the interaction of the characters depicted becomes apparent.

In later Roman works one can discern the origins of Baroque, feelings become more complex, poses and gestures are far from Renaissance harmony, the proportions of figures are elongated, and a predominance of gloomy tones is observed.

Below are the most famous paintings and their descriptions:

The Sistine Madonna (Madonna Sistina) is the most famous of all images of the Mother of God measuring 2 m 65 cm by 1 m 96 cm. The image of the Madonna is taken from 17-year-old Margherita Luti, the daughter of a baker and the artist’s mistress.

Mary, descending from the clouds, carries an unusually serious baby in her arms. They are met by Pope Sixtus II and Saint Barbara. At the bottom of the picture are two angels, presumably leaning on a coffin lid. The angel on the left has one wing. The name Sixtus is translated from Latin as “six”; the composition consists of six figures – the three main ones form a triangle; the background for the composition is the faces of angels in the form of clouds. The canvas was created for the altar of the Basilica of St. Sixtus (Chiesa di San Sisto) in Piacenza in 1513. Since 1754, the work has been exhibited in the Gallery of Old Masters.

Madonna and Child

Another name for the painting, created in 1498, is “Madonna of the House of Santi” (“Madonna di Casa Santi”). It became the artist’s first appeal to the image of the Mother of God.

The fresco is kept in the house where the artist was born, on Via Raffaello in Urbino. Today the building is called the “House-Museum of Raphael Santi” (“Casa Natale di Raffaello”). Madonna is shown in profile, reading a book placed on a stand. She has a sleeping baby in her arms. The mother's hands support and gently stroke the child. The poses of both figures are natural and relaxed, the mood is set by the contrast of dark and white tones.

Madonna del Granduca is Raphael's most mysterious work, completed in 1505. Its preliminary sketch clearly indicates the presence of a landscape in the background. The drawing is kept in the Cabinet of Sketches and Etudes in (Galleria degli Uffizi), in Florence (Firenze).

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An x-ray of the finished work confirms that the painting originally had a different background. The analysis of the paint indicates that the top layer of the painting was applied 100 years after its creation. Presumably, this could have been done by the artist Carlo Dolci, owner of the Granduca Madonna, who preferred the dark background of religious images. In 1800, Dolci sold the painting to Duke Francis III (François III) in the form in which it has survived to this day. Madonna gets the name “Granduka” from the name of the same owner (Grand Duca - Grand Duke). The painting, measuring 84 cm by 56 cm, is exhibited in the Galerie Palatine of Palazzo Pitti, Florence.

For the first time, A. S. Pushkin noticed the resemblance between Madonna Bridgewater and his wife Natalya Nikolaevna in the summer of 1830, after seeing a copy of a painting created in 1507 in the window of a book store on Nevsky Prospekt. This is another mysterious work by Raphael, where the landscape in the background is painted over with black paint. She traveled around the world for a long time, after which the Duke of Bridgewater became her owner.

Subsequently, the heirs kept the work in the Bridgewater estate in London for more than a hundred years. During the Second World War, the blonde Madonna was transported to the National Gallery of Scotland in Edinburgh, where it is exhibited today.

Madonna Connestabile is the finishing work of the maestro in Umbria, painted in 1502. Before its acquisition by Count Conestabile della Staffa, it was called the Madonna del Libro.

In 1871, Alexander II bought it from the count to give it to his wife. Today this is the only work of Raphael that belongs to Russia. It is exhibited in the St. Petersburg Hermitage.

The work is presented in a rich frame created simultaneously with the canvas. When transferring the painting from wood to canvas in 1881, it was discovered that instead of a book, the Madonna initially kept a pomegranate with her - a sign of the blood of Christ. At the time of creating the Madonna, Raphael did not yet master the technique of softening the transitions of lines - sfumato, so he presented his talent with the undiluted influence of Leonardo da Vinci.

"Madonna d'Alba" was created by Raphael in 1511 at the request of Bishop Paolo Giovio. during the artist's creative zenith. For a long time, until 1931, the painting belonged to the St. Petersburg Hermitage; it was subsequently sold to Washington, USA, and today is exhibited in the National Gallery of Art.

The pose and folds of the Mother of God’s clothing are reminiscent of sculptures from antiquity. The work is unusual in that it is framed by a circle with a diameter of 945 mm. The title “Alba” was given to the Madonna in the 17th century in memory of the Dukes of Alba (at one time the painting was in the palace of Sevilla, which belonged to the heirs of Olivares). In 1836, Russian Emperor Nicholas I bought it for £14,000 and ordered it to be transferred from wood to canvas. At the same time, part of nature on the right was lost.

"Madonna della Seggiola" was created in 1514 and is exhibited in the Galerie Palatine of Palazzo Pitti. The Mother of God is dressed in the elegant clothing of women from 16th century Italy.

Madonna hugs and hugs her son tightly with both arms, as if feeling what he will have to experience. On the right, John the Baptist looks at them in the form little boy. All figures are drawn close-up and the background for the picture is no longer required. There is no strictness of geometric shapes and linear perspectives, but there is endless mother's love, expressed by the use of warm colors.

Raphael's large canvas (1 m 22 cm by 80 cm) of “The Beautiful Gardener” (La Belle Jardiniere), painted in 1507, belongs to one of the most valuable exhibits of the Paris Louvre (Musée du Louvre).

Initially, the painting was called “The Holy Virgin in a Peasant’s Dress,” and only in 1720 did the art critic Pierre Mariette decide to give it a different name. Mary is depicted sitting in the garden with Jesus and John the Baptist. The son reaches out to the book and looks into his mother’s eyes. John holds a staff with a cross and looks at Christ. Halos are barely visible above the characters' heads. Peace and tranquility are given by a turquoise sky with white clouds, a lake, flowering herbs and plump children near the kind and gentle Madonna.

Madonna with the Goldfinch

Madonna with the Goldfinch (Madonna del Cardellino) is recognized as one of Raphael’s best creations, painted in 1506. Exhibited in the Uffizi Gallery (Galleria degli Uffizi) in Florence.

The customer for the painting was the artist’s friend, the merchant Lorenzo Nazi, who asked that the work be ready for his wedding. In 1548, the painting was almost lost when Mount San Giorgio collapsed on the merchant's house and neighboring houses. However, Lorenzo's son, Batista, collected all the parts of the painting from the ruins and gave them to Ridolfo del Ghirlandaio for restoration. He did everything possible to give the masterpiece its original appearance, but traces of damage could not be completely hidden. The x-ray shows 17 separate elements connected by nails, new painting and four inserts on the left side.

The Small Madonna of Cowper (Piccola Madonna Cowper) was created in 1505 and named after Earl Cowper, in whose collection the work was for many years. In 1942, donated to the National Gallery of Art in Washington. The Holy Virgin, as in many other paintings by Raphael, is represented in red robes, symbolizing the blood of Christ. A blue cape is added on top as a symbol of innocence. Although no one in Italy walked like this, Raphael depicted the Mother of God in exactly such clothes. Main plan occupied by Maria resting on a bench. With her left hand she hugs the smiling Christ. Behind you can see a church reminiscent of the Temple of San Bernardino (Chiesa di San Bernardino) in Urbino, the homeland of the author of the picture.

Portraits

There are not many portraits in Raphael's collection; he passed away early. Among them are early works made in Florentine period and works of his mature age, created while living in Rome from 1508 to 1520. The artist draws a lot from life, always clearly defining the outline, achieving the most accurate correspondence of the image to the original. The authorship of many works is questioned; other possible authors include: Pietro Perugino, Francesco Francia, Lorenzo di Credi.

Portraits created before moving to Florence

An oil on wood work (45 cm by 31 cm), executed in 1502, is exhibited in (Galleria Borghese).

Until the 19th century the authorship of the portrait was attributed to Perugino, but recent research indicates that the masterpiece was painted by the early Raphael. Perhaps this is an image of one of the dukes, the artist's contemporaries. Flowing curls of hair and the absence of facial defects somewhat idealize the image, this did not correspond to the realism of the artists of northern Italy at that time.

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A portrait of Elizabeth Gonzaga, created in 1503, measuring 52 cm by 37 cm, is exhibited in the Uffizi Gallery.

Elizabeth was the sister of Francesco II Gonzaga and the wife of Guidobaldo da Montefeltro. The woman’s forehead is decorated with a scorpion pendant, her hairstyle, and clothes are depicted in the fashion of the author’s contemporaries.. According to art historians, the portraits of Gonzaga and Montefeltro were partially painted by Giovanni Santi. Elizabeth was dear to Raphael because she was involved in his upbringing when he was left an orphan.

Portrait of Pietro Bembo, one of Raphael's first works from 1504, represents the young Pietro Bembo, who became a cardinal, practically the artist's double.

In the image, the young man's long hair flows softly from under a red cap. The hands are folded on the parapet, a piece of paper is clutched in the right palm. Raphael first met Bembo in the castle of the Duke of Urbino. The portrait in oil on wood (54 cm by 39 cm) is exhibited at the Museum of Fine Arts (Szépművészeti Múzeum) in Budapest, Hungary.

Portraits of the Florentine period

The portrait of a pregnant woman by Donna Gravida (La donna gravida) was executed in 1506 in oil on canvas measuring 77 cm by 111 cm and is kept in Palazzo Pitti.

In Raphael’s time, it was not customary to depict women bearing a child, but the portrait painter painted images that were close to his soul without regard to dogma. The theme of motherhood, running through all Madonnas, was also reflected in the images of worldly inhabitants. Art historians believe that this could be a woman of the Bufalini family, Città di Castello or Emilia Pia da Montefeltro. Belonging to a wealthy class is indicated by a fashionable outfit, jewelry on the hair, rings with precious stones on the fingers and a chain around the neck.

Portrait of a Lady with a Unicorn (Dama col liocorno) in oil on wood, 65 cm by 61 cm, painted in 1506, is exhibited in the Borghese Gallery.

Presumably, Giulia Farnese posed for the image. secret love Pope Alexander VI (Alexander PP. VI). The work is interesting because during numerous restorations the image of the lady was changed many times. The X-ray image shows the silhouette of a dog instead of a unicorn. Perhaps the work on the portrait went through several stages. Raphael may have been the author of the figure's torso, landscape and sky. Giovanni Sogliani could have painted the columns on the sides of the loggia, arms with sleeves and a dog. Another later coat of paint increases the volume of the hairstyle, changes the sleeves and completes the dog. After a few decades, the dog becomes a unicorn, hands are rewritten. In the 17th century, the lady becomes St. Catherine in a cloak.

Self-portrait

Self-portrait (Autoritratto) measuring 47.5 cm by 33 cm, executed in 1506, is kept in the Uffizi Gallery, Florence.

The work belonged to Cardinal Leopoldus Medices for a long time; since 1682 it has been included in the collection of the Uffizi Gallery. A mirror image of the portrait was painted by Raphael on the fresco “Scuola di Atene” in the main hall of the Vatican Palace (Apostolic Palace (Palazzo Apostolico)). The artist depicted himself in a modest black robe, adorning it with only a small strip of white collar.

Portrait of Agnolo Doni, portrait of Maddalena Doni

The portrait of Agnolo Doni and the portrait of Maddalena Doni (Portrait of Agnolo Doni, Portrait of Maddalena Doni) were painted in oil on wood in 1506 and complement each other perfectly.

Agnolo Doni was a wealthy wool merchant and commissioned a painting of himself and his young wife (nee Strozzi) immediately after their wedding. The image of the girl is created in the likeness of “Mona Lisa” (Leonardo da Vinci): the same rotation of the body, the same position of the hands. Careful detailing of clothing and jewelry indicates the couple's wealth.

Rubies symbolize prosperity, sapphires symbolize purity, and the pearl pendant on Maddalena's neck symbolizes virginity. Previously, both works were connected together by hinges. From the mid-20s. XIX century descendants of the Doni family pass on the portraits.

The painting The Mute (La Muta) in oil on canvas measuring 64 cm by 48 cm was made in 1507 and exhibited in the National Gallery of the Marche (Galleria nazionale delle Marche) in Urbino.

The prototype of the image is considered to be Elisabetta Gonzaga, wife of Duke Guidobaldo da Montefeltro. According to another version, it could be the Duke's sister Giovanna. Until 1631, the portrait was in Urbino; ​​subsequently it was transported to Florence. In 1927, the work was again returned to the artist’s homeland. In 1975, the painting was stolen from the gallery, and a year later it was discovered in Switzerland.

Portrait of a Young Man in oil on wood (35 cm by 47 cm), painted in 1505, is exhibited in Florence, in the Uffizi.

Francesco Maria della Rovere, shown here, was the son of Giovanni Della Rovere and Juliana Feltria. His uncle appointed the young man as his heir in 1504 and immediately commissioned this portrait. A young man in a red robe is presented in the modest nature of northern Italy.

The portrait of Guidobaldo da Montefeltro (Ritratto di Guidоbaldo da Montefeltro) in oil on wood (69 cm by 52 cm) was executed in 1506. The work was kept in the castle of the Dukes of Urbino (Palazzo Ducale), after which it was transported to the city of Pesaro.

In 1631, the painting entered the collection of Ferdinando II de Medici's wife, Vittoria della Rovere. Montefeltro, dressed in black, is placed in the center of the composition, which is framed by the dark walls of the room. On the right is an open window with nature outside. The stillness and asceticism of the image for a long time prevented Raphael from being recognized as the author of the painting.

Stanzas of Raphael in the Vatican

In 1508, the artist moved to Rome, where he remained until his death. The architect Domato Bramante helped him become an artist at the papal court. Pope Julius II gives his protégé the state rooms (stanzas) of the old Vatican palace, later named (Stanze di Raffaello), to be painted. Having seen Raphael's first work, the pope ordered his drawings to be applied to all surfaces, removing the frescoes of the other authors and leaving only the lampshades untouched.

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The literal translation of “Stanza della Segnatura” sounds like “signature room”; it is the only one that was not renamed according to the theme of the frescoes.

Raphael worked on its painting from 1508 to 1511. In the room, royalty signed important papers and there was a library right there. This is the 1st stanza out of 4 that Raphael worked on.

Fresco "School of Athens"

The second title of the “Scuola di Atene”, the best of the frescoes created, is “Philosophical Conversations” (“Discussioni filosofiche”). The main theme - the dispute between Aristotle (Aristotels) and Plato ((Plato), written with Leonardo da Vinci) under the arches of a fantastic temple, is intended to reflect philosophical activity. The length at the base is 7 m 70 cm, more than 50 characters are placed in the composition, among which Heraclitus ((Heraclitus), painted with), Ptolemy ((Ptolemaeus), self-portrait of Raphael), Socrates (Sokrates), Diogenes (Diogen), Pythagoras (Pythagoras), Euclid ((Evklid), painted with Bramante), Zoroaster ( Zoroastr) and other philosophers and thinkers.

Fresco "Disputation", or "Dispute about Holy Communion"

The size of the “Dispute about Holy Communion” (“La disputa del sacramento”), symbolizing theology, is 5 m by 7 m 70 cm.

In the fresco, the heavenly inhabitants are engaged in a theological debate with earthly mortals (Fra Beato Angelico, Augustinus Hipponensis, Dante Alighieri, Savonarola and others). The clear symmetry in the work is not depressing; on the contrary, thanks to Raphael’s gift for organization, it seems natural and harmonious. The leading figure of the composition is a semicircle.

Fresco “Wisdom. Moderation. Force"

Fresco “Wisdom. Moderation. Strength" (“La saggezza. La moderazione. Forza”) is placed on the wall cut through by a window. Another name for a work glorifying secular and ecclesiastical legislation is “Jurisprudence” (Giurisprudenza).

Below the figure of Jurisprudence on the ceiling, on the wall above the window there are three figures: Wisdom looking into the mirror, Strength in a helmet and Temperance with reins in hand. On the left side of the window is the Emperor Justinian (Iustinianus) and Tribonianus (Tribonianus) kneeling in front of him. On the right side of the window is an image of Pope Gregory VII (Gregorius PP. VII) presenting the decrees of the popes to a lawyer.

Fresco "Parnassus"

The fresco “Parnassus” (“he Parnassus”) or “Apollo and the Muses” (“Apollo and the Muses”) is located on the wall opposite “Wisdom. Moderation. Powers" and depicts ancient and modern poets. In the middle of the image is the ancient Greek Apollo with a hand-made lyre, surrounded by nine muses. On the right are: Homer, Dante, Anakreon, Virgil, on the right are Ariosto, Horatius, Terentius, Ovidius.

The theme for the painting of Stanza di Eliodoro is the intercession of higher powers for the Church. The hall, work on which has been going on since 1511. to 1514, was named after one of the four frescoes painted by Raphael on the wall. The master's best student, Giulio Romano, helped the teacher in his work.

Fresco “The Expulsion of Eliodor from the Temple”

The fresco "Cacciata di Eliodoro dal tempio" depicts the legend according to which the faithful servant royal dynasty The Seleukid general Eliodorus was sent to Jerusalem to collect the treasury of widows and orphans from Solomon's Temple.

When he entered the temple hall, he saw a rushing angry horse with an angel rider. The horse began to trample Eliodor with its hooves, and the rider's companions, also angels, struck the robber several times with a whip. Pope Julius II is represented in the fresco as an outside observer.

Fresco "Mass in Bolsena"

Rafael Santi worked alone on the fresco “Mass in Bolsena” without involving assistants. The plot depicts a miracle that happened in the Temple of Bolsena. The German priest was about to begin the rite of communion, deep down not believing in its truth. Then 5 streams of blood flowed from the wafer (cake) in his hands (2 of them are a symbol of Christ’s pierced hands, 2 of his feet, 1 of them is blood from the wound of his pierced side). The composition contains notes of a clash with German heretics of the 16th century.

Fresco "Bringing the Apostle Peter out of prison"

The fresco “The Deliverance of the Apostle Peter from Prison” (“la Delivrance de Saint Pierre”) is also the work entirely of Raphael. The plot is taken from the “Acts of the Apostles”, the image is divided into 3 parts. In the center of the composition is the radiant Apostle Peter, imprisoned in a gloomy prison cell. On the right, Peter and the angel emerge from captivity while the guards are sleeping. On the left is the third action, when the guard wakes up, discovers the loss and raises the alarm.

Fresco “Meeting of Leo I the Great with Attila”

A significant part of the work “The Meeting between Leo the Great and Attila”, more than 8 m wide, was made by Raphael’s students.

Leo the Great has the appearance of Pope Leo X. According to legend, when the leader of the Huns approached the walls of Rome, Leo the Great went to meet him along with other members of the delegation. With his eloquence, he convinced the invaders to abandon their intentions to attack the city and leave. According to legend, Attila saw a clergyman behind Leo, threatening him with a sword. It could have been the Apostle Peter (or Paul).

Stanza dell’Incendio di Borgo is the finishing hall that Raphael worked on from 1514 to 1517.

The room was named after the main and best fresco by Raphael Santi, “Fire in the Borgo” by the maestro. His students worked on the rest of the paintings according to the given drawings.

Fresco “Fire in Borgo”

In 847, the Roman quarter of Borgo, adjacent to the Vatican Palace, was engulfed in flames. It grew until Leo IV (Leo PP. IV) appeared from the Vatican Palace and stopped the disaster with the sign of the cross. In the background is the old facade of St. Peter's Basilica. On the left is the most successful group: an athletic young man carries his old father out of the fire on his shoulders. Nearby, another young man is trying to climb the wall (presumably the artist painted himself).

Stanza of Constantine

Raphael Santi received the order to paint the “Hall of Constantine” (“Sala di Costantino”) in 1517, but only managed to make sketches of the drawings. The sudden death of the brilliant creator prevented him from finishing his work. All frescoes were executed by Raphael's students: Giulio Romano, Gianfrancesco Penni, Raffaellino del Colle, Perino del Vaga.

1. Giovanni Santi insisted that the mother feed the newborn Raphael herself, without resorting to the help of a nurse.
2. About four hundred drawings of the maestro have survived to this day., among which there are sketches and images of lost paintings.
3. The artist’s amazing kindness and spiritual generosity manifested itself not only in relation to close people. Raphael spent his entire life caring like a son for one poor scientist, translator of Hippocrates into Latin, Rabio Calve. The learned man was as holy as he was learned, so he did not accumulate a fortune for himself and lived modestly.
4. In the monastery records, Margarita Luti was designated as “the widow of Raphael.” In addition, while examining the layers of paint on the painting “Fornarina,” restorers discovered a ruby ​​ring underneath, possibly a wedding ring. The pearl decoration in the hair of “Fornarina” and “Donna Velata” also indicates marriage.
5. A painful bluish spot on the Fornarina's chest suggests that the woman had breast cancer.
6. In 2020 it will be 500 years since the death of the brilliant artist. In 2016, for the first time in Russia, an exhibition of Raphael Santi was held in Moscow, at the Pushkin State Museum of Fine Arts. At the exhibition entitled “Raphael. Poetry of the Image” presented 8 paintings and 3 graphic drawings collected from various museums in Italy.
7. Children are familiar with Raphael (aka Raf) as one of the “Teenage Mutant Ninja Turtles” in the cartoon of the same name, who wields a piercing bladed weapon – the sai, which looks like a trident.

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Raphael Santi was born in the city of Urbino in 1483, on April 6. His interest in painting began quite early. His father Giovanni Santi worked as a court painter for the Duke of Urbino, Federigo da Montefeltro. During the time that Raphael was with his father, he had the opportunity to study the basics of painting. At the age of 8, Rafael lost his mother, and at 11, his father. Thanks to the care of his stepmother and the sufficient amount of money that remained after his father’s death, the master never struggled for his decent existence. In addition, he was friends with the Italian masters of that time. Through these connections, Rafael was able to become quite successful in his career quite early on.

His father, while he was still alive, apparently managed to provide training for the young master. In 1500, Raphael became a student of Pietro Perugino, who was a successful artist in the city of Perugia. Within four years, Raphael had mastered Perugino's technique so well that it became almost impossible to distinguish between their works. By December of the same year, Raphael had earned the title of master from some quarters. His first famous work there was an altarpiece for a church that was halfway between the city of his birth and Perugia. He was assisted by his senior comrade Evangelista Pian di Meleto. The artist worked on many other projects with Raphael's father. The young master continued to work as an assistant to Perugino until he moved to Florence.

In Florence it became obvious to him that his style needed some changes, given the latest innovative styles of Leonardo da Vinci and Michelangelo. However, the artist who influenced him most undoubtedly remained the same. His influence can be seen in Raphael's painting The Sistine Madonna. However, although he adopted the styles of various masters of the time, he continued to use his own unique style. A work in which one could already see more of the style characteristic of Raphael - “The Beautiful Gardener” (La Belle Jardinire) or “Madonna and Child with John the Baptist,” as it is also called.

In 1508, Raphael moved to work for the Vatican in Rome. He lived the rest of his life here. His influential family connections also played a huge role in his invitation to the Vatican. With the assistance of his uncle Donato Bramante ( famous architect and painter of the time), Raphael Santi becomes the official artist of the papal court. He, at the invitation of Pope Julius II, arrives to carry out the order to paint frescoes of the Stanza della Segnatura, first of Michelangelo, who receives official invitation a few months later. Raphael's first commissioned work in Rome was his largest and highest paying commission ever. He was to paint frescoes in what was to become the library of Julius II in the Vatican Palace. There were already similar works in different rooms, but they were mostly painted over, as they were ordered by the predecessor and worst enemy Pope Julius II Rodrigo Borgia by Pope Alexander VI. The works of Raphael in this room were one of best works artist. These include "Parnassus", " Athens school", "Disputation", "Virtues and Law".

In order to paint these famous works, he had to paint over some other works. However, Pope Julius II decided that these works were less important. After completing the work in the first room, Pope Julius II was very impressed and decided to commission the artist to paint in another room for further work. The second room in which Raphael worked is called Stanza d'Eliodoro. In this room, Raphael mainly focuses on God's protection of human activity. The influence of Michelangelo is clearly visible in these works. However, as has been the case throughout his career, the artist manages to use his own style, while still using many techniques from other masters. At one time, Michelangelo was quite irritated by Raphael's unique skill in quickly adopting the techniques of other artists. He even accused the artist of plagiarism.

While Raphael was working on the second hall, Pope Julius II died. However, this did not affect his work in any way. The next Pope Leo X was also delighted with Raphael's skill and supported the continuation of the painting. In addition, his complex network of friends played a significant role in providing the artist with orders, in such quantities that he would probably never be left without work. Rafael Santi continued to work on the project, but already played a smaller role in it. To complete it, he began to send a team of his assistants. Its big and complex work for him, Leonardo da Vinci and Michelangelo came to define the century in which they lived.

At the end of his life, Raphael continued to receive a salary from the Vatican. However, he also received numerous other orders. His most notable projects outside the Vatican are a series of altarpieces and Roman Madonnas. These works demonstrate an evolution in Raphael's style. In fact, he continued to develop until his death. In addition, he made a series of portraits. Among them are portraits of Pope Julius II and his successor.

His studio has been described as one of the largest ever owned by a craftsman. Undoubtedly, he adopted much of the experience of running a workshop from his father. Unlike the workshop organized by Michelangelo, Raphael's workshop worked more quickly and productively.

The artist managed not only to organize a whole subcontract of craftsmen and their assistants, but also to maintain good working relationships with all of them. His workshop was credited with developing the talent of some of the greatest masters of the time.

When Bramante died, Raphael was appointed chief architect of St. Peter's Basilica. In 1515 he also received the position of chief custodian of antiquities. Most of his works were subsequently demolished as they were, to some extent, gloomy. However, some of his works as an architect are still preserved in Rome.

Raphael often drew pictures, sometimes using a silver tip. A drawing made in this way is initially bluish-gray in color. Gradually, after oxidation, it acquires a brownish tint. As can be seen from his numerous drawings, he was a very innovative artist. Raphael never made copies of his works, but willingly collaborated with other artists and allowed them to use his sketches to create engravings.

The artist has never been married. For some time he was infatuated with Margherita Luti (Fornarina - baker), the daughter of a rich baker.

According to one version, numerous noisy games with his mistresses led to his premature death at thirty-seven years old. But still, this version is the subject of serious controversy. According to another version, he fell ill after having sex with Fornarina. But if we take into account the large amount of work that the artist performed, the morals of those times, the general state of health of the population of that century and the fact that then people generally did not live long, we can assume that all this together, in general, could have caused Raphael’s early death. In any case, after so many hundreds of years since his death, one can now only speculate about its cause, since some biographical facts remain unknown, and instead of them many conjectures, rumors, fantasies and conjectures have appeared. The artist bequeathed his considerable fortune to Margarita Luti, friends and students. After his death, Raphael was buried in the Pantheon, at his own request.

Without a doubt, Raphael is one of the leading artists of the Renaissance. Together with Titian, Donatello, Leonardo da Vinci, Michelangelo, Shakespeare, and a small group of contemporaries, Raphael became the center of a movement of artistic figures who enriched not only Western but also world culture with their masterpieces.

"Sistine Madonna". The painting measures 196 cm x 265 cm and was done in oil on canvas in 1514. Located in the Old Masters Gallery, Dresden, Germany.

“The Beautiful Gardener” (Madonna with Child and John the Baptist), measuring 80 cm. 122 cm. Made in oil on panel around 1507. Located in the Louvre, Paris.

"Madonna and the Goldfinch." The painting measures 77 cm x 107 cm and was done in oil on panel in 1506. Located in the Uffizi Gallery, Florence, Italy.

"Madonna in Green" (Belvedere Madonna). The painting measures 88 cm x 113 cm and was done in oil on panel in 1506. Located in the Kunsthistorisches Museum, Vienna, Austria.

"Madonna Conestabile". The painting measures 18 cm x 17.5 cm, made in oil in 1504, transferred from wood to canvas. Is in State Hermitage, in St. Petersburg.

"Madonna in a Chair" The painting measures 71 cm x 71 cm and was done in oil in 1514. Located in Palazzo Pitti, Florence, Italy.

"Madonna Granduca" The painting measures 55.9 cm x 84.4 cm and was done in oil on panel in 1504. Located in the Palatine Gallery of Palazzo Pitti, Florence.

"Madonna Alba". The painting is in tondo shape, measuring 94.5 cm x 94.5 cm, painted in 1511, and transferred in oil to canvas. Located in the National Gallery of Art, Washington, USA.

"Madonna Tempi". The painting measures 51 cm x 75 cm and was done in oil on panel in 1507. Is in art gallery"Alte Pinakothek", in Munich, Germany.

"Madonna Foligno". The painting measures 194 cm x 320 cm, made in 1512, transferred in oil to canvas. Located in the Vatican Pinacoteca.

"Three Graces". The painting measures 17 cm x 17 cm and was done in oil on panel in 1504. Located in the Condé Museum, Chantilly, France.

"Cardinal Bibbiena". The portrait measures 76 cm x 107 cm, painted in oil on panel, around 1516, located in Palazzo Pitti.

The portrait of Baldassare Castiglione (Count of Novilara, Italian writer) measures 67 cm x 82 cm, executed in oil on panel around 1515, now in the Louvre, Paris.

"Lady with a Unicorn" The portrait of a woman measures 61 cm x 65 cm, executed in oil on panel around 1506, located in the Galleria Borghese, Rome.

"Julius II". The portrait of the 216th Pope Giuliano della Rovere measures 81 cm x 108 cm, executed in oil on panel in 1511, located in the London National Gallery, Great Britain.

"Fornarina". The portrait presumably depicts Raphael's beloved woman. Its size is 60 cm x 85 cm. It was painted in oil on panel in 1519. Located in Palazzo Barberini, Rome.

"The School of Athens" The fresco measuring 770 cm x 500 cm was painted in 1511 in Stanza della Segnatura, in the Vatican Palace (Apostolic Palace in the Vatican).

"Parnassus". The fresco, 670 cm wide, was painted in 1511 in the Stanza della Segnatura, in the Vatican Palace.

"Disputation". The fresco measures 770 cm x 500 cm, painted in 1510 in Stanza della Segnatura.

"Virtues and Law". The fresco is 660 cm wide and was painted between 1508 and 1511. in Stanza della Segnatura.