Raphael

• 1. Urbino Origins And Early Training

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  Raffaello Sanzio da Urbino was born in the small but artistically significant central Italian city of Urbino in March 1483 or the 6th of April 1483. His father Giovanni Santi served as court painter to the Duke of Urbino, a role that placed the family at the heart of a highly cultured circle. Federico da Montefeltro had established the reputation of this court before dying just one year prior to Raphael's birth. The emphasis of Federico's court leaned more toward literary culture than pure artistry, yet Giovanni Santi was both a poet and a painter who wrote rhymed chronicles of the Duke's life. This environment gave young Raphael excellent manners and social skills that would later define his career. He grew up surrounded by regular visitors like Pietro Bibbiena and Pietro Bembo, who became cardinals and later friends during Raphael's time in Rome.

  Tragedy struck when Raphael's mother Màgia died in 1491 while he was only eight years old. His father remarried shortly after and then passed away on the 1st of August 1494, leaving the boy orphaned at eleven. A formal guardian named Bartolomeo, his paternal uncle and a priest, took over legal responsibilities while engaging in litigation with his stepmother. Despite these personal losses, Raphael continued living with his stepmother when not apprenticing elsewhere. Vasari records that the boy showed early talent, describing him as "a great help to his father" even as a child. A self-portrait drawing from his teenage years demonstrates this precocity clearly.

  His father's workshop remained active, and Raphael likely managed it alongside his stepmother from a very young age. In Urbino, he encountered works by Paolo Uccello, the previous court painter who had died in 1475, and Luca Signorelli, who worked nearby until 1498. According to Vasari, Giovanni Santi placed his son in the workshop of Umbrian master Pietro Perugino despite the tears of his mother. Modern historians debate whether an apprenticeship began at such an early age or if training came from Timoteo Viti instead. Most agree that Raphael worked as an assistant to Perugino around 1500, absorbing so much of his master's teaching that no other pupil has ever done so. By December 1500, Raphael was described as a fully trained master.

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• 2. Florentine Artistic Synthesis

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  Raphael led what can be called a nomadic life working across various centers in Northern Italy before settling in Florence around 1504. He may have needed to visit the city specifically to secure materials for his work. A letter dated October 1504 from the mother of the next Duke of Urbino recommended him to the Gonfaloniere of Florence as a greatly gifted painter determined to study there. The document praised both his father's worthiness and the young man's sensible nature. This period lasted approximately four years until 1508 when he moved to Rome.

  Leonardo da Vinci returned to Florence between 1500 and 1506, creating a profound impact on Raphael's developing style. Leonardo was more than thirty years older than Raphael yet their artistic exchange proved transformative. Raphael's figures began taking dynamic and complex positions while maintaining tranquil subjects. He made drawn studies of fighting nude men, one of the obsessions of Florentine art at that time. Another drawing showed a portrait of a young woman using the three-quarter length pyramidal composition found in the just-completed Mona Lisa. These works remained completely Raphaelesque despite borrowing heavily from Leonardo's innovations.

  Michelangelo also influenced this period though he was only eight years senior to Raphael. Michelangelo had already disliked Leonardo and came to dislike Raphael even more during his Roman tenure. Raphael absorbed influences from both masters while striking out in different directions with his most original works. His Deposition of Christ drew upon classical sarcophagi to spread figures across the front of picture space in a complex arrangement. Wölfflin detected influence of Michelangelo's Madonna in Doni Tondo within the kneeling figure on the right side. Though highly regarded at the time, this work stands rather alone in Raphael's entire body of output.

• 3. Vatican Stanze Commissions

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  In 1508 Raphael moved to Rome where he resided for the rest of his life. Pope Julius II invited him perhaps through architect Donato Bramante who came from near Urbino and was distantly related to Raphael. Unlike Michelangelo who lingered months after summons, Raphael received immediate commission to fresco what became the Pope's private library at Vatican Palace. The room intended held no bookcases since books were stored in cases placed in the middle of floors destroyed later during the Sack of Rome in 1527. This represented a much larger and more important commission than any previous altarpiece painted solely by Raphael himself.

  The first famous Stanza or Raphael Room to be painted now known as Stanza della Segnatura made stunning impact on Roman art. It contained three major frescoes: The School of Athens, The Parnassus, and the Disputa. These works remain generally regarded as his greatest masterpiece despite being only one part of a sequence covering three rooms with paintings on each wall and often ceilings too. Raphael completed the first section of his work in 1511 while other artists including Perugino and Signorelli had been displaced from their positions. Death of Julius in 1513 did not interrupt progress since Medici Pope Leo X continued commissions forming even closer relationship.

  Raphael clearly influenced by Michelangelo's Sistine Chapel ceiling which he entered secretly according to Vasari. One clear instance appeared in portrait within The School of Athens depicting Michelangelo himself as Heraclitus drawing directly from Sybils and ignudi of Sistine ceiling. Other figures showed same influences yet remained cohesive with development of Raphael's own style. Michelangelo accused Raphael of plagiarism years after death claiming everything learned came from him though other quotations show more generous reactions. These very large complex compositions have been regarded ever since among supreme works of grand manner High Renaissance classic art post-antique West.

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• 4. Architectural Innovations In Rome

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  After Bramante's death in 1514 Raphael was named architect of new St Peter's Basilica. Most of his work there altered or demolished following acceptance of Michelangelo's design but few drawings survived. His designs would have made church appear gloomier than final version with massive piers running down nave like an alley according to critical analysis by Antonio da Sangallo the Younger. He designed several other buildings becoming most important architect in Rome working for small circle around Papacy during short tenure.

  Julius had changed street plan creating thoroughfares wanting them filled with splendid palaces. An important building called Palazzo Branconio dell'Aquila for Leo's Chamberlain Giovanni Battista Branconio completely destroyed later making way for Bernini's piazza though facade and courtyard drawings remain. Facade unusually richly decorated including painted panels top story three levels plus much sculpture middle one. Main designs Villa Farnesina not by Raphael though he did decorate Chigi Chapel same patron Agostino Chigi Papal Treasurer mosaics funerary chapel Santa Maria del Popolo.

  Villa Madama lavish hillside retreat Cardinal Giulio de' Medici later Pope Clement VII never finished full plans reconstructed speculatively. Final construction completed Antonio da Sangallo Younger despite incomplete state it remained most sophisticated villa design yet seen Italy greatly influencing genre development. Only modern building Rome Palladio measured drawing from. Raphael left long letter describing intentions Cardinal reprinted full pages 247-48. Some floor-plans survive large palace planned himself new via Giulia rione Regola accumulating land last years irregular island block near river Tiber.

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• 5. Workshop Dynamics And Production

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  Vasari states Raphael eventually maintained workshop fifty pupils assistants many becoming significant artists own right. This arguably largest workshop team assembled under single old master painter far higher than norm included established masters parts Italy working teams sub-contractors alongside pupils journeymen. Very little evidence internal arrangements exists apart works art often difficult assign particular hand. Most important figures Giulio Romano young pupil Rome only about twenty-one at Raphael's death Gianfrancesco Penni already Florentine master left many drawings possessions continued workshop after death.

  Penni achieved personal reputation equal Giulio's becoming less-than-equal collaborator subsequent career Perino del Vaga already master Polidoro da Caravaggio promoted laborer carrying materials site notable painters own right. Polidoro partner Maturino Firenze overshadowed subsequent reputation partner Giovanni Udine independent status responsible decorative stucco work grotesques surrounding main frescoes. Many artists later scattered killed violent Sack Rome 1527 contributing diffusion versions style around Italy beyond. Vasari emphasizes harmonious efficient workshop extraordinary skill smoothing troubles arguments patrons assistants contrast stormy pattern Michelangelo relationships both.

  Though Penni Giulio sufficiently skilled distinguishing hands Raphael himself sometimes difficult no doubt many wall-paintings probably easel paintings more notable design execution. Portraits good condition show brilliance detailed handling paint right end life. Other pupils include Raffaellino Colle Andrea Sabbatini Bartolommeo Ramenghi Pellegrino Aretusi Vincenzo Tamagni Battista Dossi Tommaso Vincidor Timoteo Viti Urbino painter sculptor architect Lorenzetto brother-in-law Giulio.

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• 6. Printmaking Collaborations

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  Raphael made no prints himself entering collaboration Marcantonio Raimondi produce engravings designs creating famous Italian prints century rise reproductive print unusual interest major artist contemporaries shared Titian worked much less successfully Raimondi. Total about fifty prints made copies Raphael's paintings other designs apparently created purely turned into prints. Preparatory drawings survive Raimondi translate engraving relationship discussed length Landau Pon Chapters Three Four.

  Famous original prints resulted Lucretia Judgement Paris Massacre Innocents two virtually identical versions engraved Parnassus considerable differences Galatea especially well known Outside Italy reproductive prints Raimondi others main way art experienced until twentieth century. Baviero Carocci called Il Baviera Vasari assistant trusted money possibly German helpful during 1527 Sack Marcantonio printing-plates looted him. Vasari ended control copper plates after death successful career new occupation publisher prints.

  Outside Italy reproductive prints Raimondi others main way art experienced until twentieth century. Baviero Carocci called Il Baviera Vasari assistant trusted money possibly German helpful during 1527 Sack Marcantonio printing-plates looted him. Vasari ended control copper plates after death successful career new occupation publisher prints.

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• 7. Death And Posthumous Legacy

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  Raphael died Good Friday the 6th of April 1520 possibly his thirty-seventh birthday. Vasari claims born Good Friday the 28th of March 1483 artist died exhaustion brought unceasing romantic interests working Loggia Several possibilities raised historians scientists combination infectious disease bloodletting acute illness lasted fifteen days composed confess sins receive last rites put affairs order dictated will left sufficient funds mistress care entrusted loyal servant Baviera studio contents Giulio Romano Penni buried Pantheon per request.

  Funeral extremely grand attended large crowds Paris de Grassis journal four cardinals purple carried body hand kissed Pope inscription marble sarcophagus elegiac distich written Pietro Bembo reads Here lies famous Raphael Nature feared conquered lived dying feared herself die Critical reception highly admired contemporaries influence artistic style own century less Michelangelo Mannerism beginning time death Baroque took art direction totally opposed qualities.

  Period greatest influence late seventeenth to late nineteenth centuries perfect decorum balance greatly admired seen best model history painting regarded highest hierarchy genres Sir Joshua Reynolds Discourses praised simple grave majestic dignity stands general foremost first painters Michael Angelo claims next attention possessed many excellences Raffaelle highest kind. By 1900 popularity surpassed Michelangelo Leonardo perhaps reaction etiolated Raphaelism nineteenth-century academic artists such Bouguereau. Art historian Bernard Berenson 1952 termed most famous loved master High Renaissance.

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