Where and when was Raphael born?
Raphael was born in Urbino, a small city in the Marche region of central Italy, on either the 28th of March or the 6th of April 1483. His father, Giovanni Santi, was court painter to the Duke of Urbino.
Questions about Raphael
Short answers, pulled from the story.
What is Raphael's most famous work?
The School of Athens, located in the Vatican's Stanza della Segnatura, is Raphael's best-known work. It is part of the frescoed Raphael Rooms, which represent the largest and most central project of his career.
How did Raphael die and how old was he?
Raphael died on the 6th of April 1520, aged 37. Vasari attributed his death to exhaustion brought on by unceasing romantic interests while he was working on the Loggia; later historians have also proposed a combination of infectious disease and bloodletting. He was buried in the Pantheon in Rome at his own request.
Who were the key influences on Raphael's painting style?
Raphael's early work was shaped deeply by his master Pietro Perugino, whose techniques he absorbed to an unusual degree. During his Florentine years he was strongly influenced by Leonardo da Vinci, adapting Leonardo's compositional inventions and sfumato technique. He also responded directly to Michelangelo's Sistine Chapel ceiling after gaining access to it while painting the Vatican Stanze.
What was Raphael's role as architect in Rome?
After the death of Donato Bramante in 1514, Raphael was named architect of the new St. Peter's Basilica, making him the most important architect in Rome for a short period. He also designed the Villa Madama for Cardinal Giulio de' Medici and the Chigi Chapel for the banker Agostino Chigi, among other buildings.
How did the Pre-Raphaelites respond to Raphael's legacy?
The Pre-Raphaelite Brotherhood explicitly rejected Raphael's influence and that of his admirers, including Joshua Reynolds. The critic John Ruskin, whose ideas greatly influenced them, argued that the Stanza della Segnatura marked the beginning of a decline in European art by making beauty and execution the primary goals of painting at the expense of thought and truth.