Rafael Santi Tri Graces where is he located? Three Graces

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Imagine if in the history of mankind there was no such important era called the Renaissance or Renaissance. The change of time brought global significance in history European culture. But the most important thing, perhaps, is freedom in many areas of art after a thousand years of gray time - the Middle Ages.

The Renaissance gave the world many talented artists, who in their works embodied the spiritual ideals and characteristics of this era, showing the world the magic and beauty of painting.

One of the great creators of the Renaissance was the artist Raphael Santi (1483 - 1520), who sang the feeling in his works external beauty and inner harmony.

Self-portrait of Raphael Santi and the painting "Madonna of Granduca" 1505

In the article I will briefly describe the work of the great Italian Raphael Santi and the description of the painting “The Three Graces”

Rafael received lessons from childhood artistic skill from his father, who was a poet and artist. The city of Urbino, located in Italy, is cultural center artistic arts, and was born and raised in this city talented artist Rafael Santi.

Studying art from the masters of that time, Raphael developed his own unique style of painting. So, in Florence, at the end of 1504, Raphael met Michelangelo and Leonardo da Vinci and learned the painting techniques of these great artists.

Earlier, in one of the articles, I wrote about an auxiliary optical device, which was used by many masters of that time. Leonardo da Vinci even mentioned it in his Treatise on Painting

Some of the first works in the work of Rafael Santi were written at a young age: “The Three Graces”, “The Knight’s Dream”, “Madonna Solly”

The main theme in the work of Rafael Santi is Madonna, paintings with this plot are imbued with calmness and love for the world. Behind short life the painter wrote 42 paintings with the image of Madonnas:“Madonna holding a baby in her arms”, “Madonna with a goldfinch”, “ Sistine Madonna", "Madonna of the Fish", "Madonna Alba", "Madonna Aldobrandini"

Rafael Santi paintings of Madonnas

One of the most famous and recognizable Raphael's Madonnas -"Sistine Madonna", which the painter specially painted for the altar of the church in the monastery of St. Sixtus. Until the 18th century it was considered little known work, which, moreover, was lost in one of the temples. The Sistine Madonna with angels gained worldwide fame in the post-war period.

By the way, the angels from the painting have become so popular that their plot is used in posters, postcards and even in wall paintings as a separate element.

Painting "Sistine Madonna"

You can see a painting of impressive size in Dresden next to other masterpieces of that time. As a rule, such masterpieces are stored in a room with a certain temperature and humidity under glass. In the Louvre Museum in Paris, the most famous picture in the world of Leonardo da Vinci, La Giaconda is also under glass, I saw it myself.

Serenity, freedom of images and flights of artistic imagination are characteristic of Raphael's paintings and frescoes, which depict the Madonna. By the way, the very first painting “Madonna and Child” was painted by a young painter at the age of 15. More precisely, this is a fresco on the wall in the house where he lived young painter in Italy, size 97x67 cm.

Early work of Rafael Santi

By 1508, the artist moved to Rome, where by that time the best painters, architects and sculptors had gathered. Rome glorifies Raphael as great masters of monumental painting.

The chambers of the palace in the Vatican are decorated with Raphael's paintings; the artist devoted nine years of his life to this type of creativity. Each fresco of the painter became a glorification of the spiritual and physical perfection of man.

The intellectual, moral and aesthetic aspects of human life can be traced in the great works of the creator. Before recent years Throughout his life, Raphael worked with monumental painting.

For his creativity, Raphael drew inspiration from the conditions of unsurpassed beauty that surrounded him. Real works of art decorated palaces and temples, awakening the imagination and inspiring the artist to create new masterpieces.

Frescoes by Raphael in the Papal Palace of the Vatican

Now let's talk O early painting"Three Graces"written around 1504. I find her particularly fascinating. The innocence with which the picture is shrouded figuratively cleanses a person’s soul with a single glance at it. Perfection of forms, sublime feelings and piquant beauty of the naked female body induces emotional calm and inner harmony in a person.

In the images of goddesses Ancient Greece And Ancient Rome many painters and sculptors took inspiration from it. The picture is very small size, 17× 17 cm, features of ancient ancient cultures are visible. The picture attracts attention because it seems to show purity, innocence, youth and poetry.

Perhaps this is not without reason, since the painter painted the painting “The Three Graces” at the young, romantic age of 20. In addition, Raphael loved poetry and wrote himself, perhaps this was reflected in the artist’s early painting.

“The Three Graces” by Raphael Santi oil, canvas

The image of the Three Graces is a kind of allegory of Love, Innocence and Beauty. This is the first painting where women are depicted without clothes. Each Grace holds a golden ball in her hand, symbolizing perfection. Sometimes the balls are interpreted as golden apples that Hercules, ancient greek hero in mythology, received from the Garden of the Hesperides in his penultimate labor.

If you look closely and consider the round sphere in your hands, then it is more like the shape of a ball, which has impressive weight. Many will not agree with me, but art critics, paintings by old masters, eternal theme disputes and discussions. After all, they can be interpreted in different ways, since not all painters of past eras wrote down the meaning of their works in treatises.

Which means to modern man You just have to figure it out in order to see it in the picture hidden meaning. Therefore, the ball in the hands of the Graces can resemble a planet, the sun or the moon... It was then that the world learned that the earth has the shape of a ball, that the sun is the center of the universe, and not a planet. Maybe the meaning of the picture and symbolism lies precisely in the ball, and not in the three Graces?

The ball means peace, eternity, self-sufficient power over the universe, and in the hands of the three Graces named Love, Innocence and Beauty, they acquire meaning. Remember how they say that everything important is in the little things? So the ball is that little thing where the meaning of the picture lies.

Fragment of the painting “The Three Graces”

There are suggestions that the miniature painting was painted from the statues of Roman sculpture. Look at the amazing resemblance. True, sculpture greek goddesses called “The Three Graces” below in the photo was made a little later, but I think that it was not much different from the sculpture that became the prototype of the Graces by Raphael Santi. The resemblance of the Graces is amazing, don't you think?
By the way, this human-sized sculpture stands in the Louvre Museum, I had the honor of contemplating it.

Sculpture "Three Graces"

The work “The Three Graces” is kept in the Condé Museum, which is located in the castle-estate of Chantilly — Château de Chantilly in France. I should go there, because the collection of paintings and sculptures there is amazing!

Musée Condé

In general, the theme of the Three Graces was popular in different times from the 15th century to the 19th century. Many paintings were painted by others famous painters: Lucas Cranach the Elder (1472 -1553), Pieter Powel Rubens (1577-1640), Hans von Aachen (1552-1615), Jean-Baptiste Vanloo (1684-1745), Baron Jean-Baptiste Regnault (1754-1829)

The purity and innocence of Graces attracts the eye art lovers, causing touching impressions and pleasant emotions. With the change in the standards of female beauty, the views of ordinary people on the beauty of the female body have changed, but the inner light emanating from the girls remains unchanged, which is truly fascinating.

In principle, many painters sang feminine beauty on canvases, but the interesting thing is that artists and artists painted pictures in the same way... only we know artists with male names still more. So why is that and

The Italian artist Raphael Santi died early, at the age of 37, presumably due to Roman fever, which he could have contracted while visiting the excavations.

And on the tomb of the painter and architect there are wonderful words written: Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori, What means , “Here lies the great Raphael, during whose life nature was afraid of being defeated, and after his death she was afraid to die.”

Tomb of Raphael Santi

The paintings of the old masters are beautiful and through contemplation, you can amazingly get inspired! The works of Rafael Santi good example, especially if you paint pictures yourself, and it doesn’t matter whether you are a professional artist or. You can appreciate beauty regardless of your artistic education!

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If you love museums and art exhibitions, then I invite you watch my video about the museum in the south of France by post-impressionist Pierre Bonnard. In the video I will introduce you to the work of two artists.

The last day of Pompeii is believed to have come in the 1st century. However, this dating was carried out at the very beginning of the formation historical science and is, apparently, erroneous. The error amounts to neither more nor less than one and a half millennia. The fact that this is exactly the case is evidenced by the artifacts excavated in this unfortunate city. Judge for yourself.

Karl Bryullov. The last day of Pompeii. 1830-1833 The artist painted almost all the characters - as it should be for antiquity - half naked, wrapped only in “sheets”. The inhabitants of Pompeii themselves portrayed themselves differently, but their art was revealed to the world mainly after Bryullov’s death.

The Roman city of Pompeii was destroyed during the powerful eruption of Vesuvius in 79 AD. The entire city was buried under a multi-meter layer of pieces of volcanic ejecta and ash. Most of the inhabitants managed to escape by leaving Pompeii as danger approached. After it passed, many of them returned, but only to try to dig up their things and then leave.

For some time after the disaster, residents of the surrounding areas came here to get the marble and travertine with which the buildings of Pompeii were decorated, in order to use this material for new buildings. But in the end dead city was completely abandoned. It got to the point that in the Middle Ages no one knew where this place was.

One and a half thousand years passed after the death of the city before an architect who was working on the construction of a water canal stumbled upon its remains. However, this find remained without due attention. And only in 1748, after a peasant discovered statues and metal objects while digging a well, the Neapolitan King Charles III ordered excavations to begin.

First of all, the searchers were interested in jewelry, so the work was carried out barbarously, without careful attitude to cultural monuments. Sometimes parts of the city that were inspected were filled back up as unnecessary. There was no consistency in the work; often excavations stopped altogether. This went on for more than a hundred years, until 1860, when it finally began scientific study Pompeii. It is from this time that systematic and systematic research begins, with all necessary descriptions and registration of finds.

Today we can get acquainted with all this and, looking at the exhibits, are surprised to discover that many of them speak of their obvious medieval origin.

Remains architectural structures to Pompeii. The main material is brick and concrete. So, after the ancient Romans, after oblivion for one and a half thousand years, they began to build only at the end of the Middle Ages, to which the rest of the so-called Roman antiquity should be dated.

Among the objects found, many were made of glass. But glassmaking appeared only during the Renaissance. And even then at the end. It was then that people learned to obtain a temperature in the furnace of about 1200°, necessary for the production of glass. Therefore, any references to the fact that glassmaking allegedly existed back in ancient times, just not serious. Yes, and the first one treatise glass business came out only in early XVII century.

Moreover, archaeologists, having examined various fragments, claim that in Pompeii there were houses with glazed windows. Parts of these beautiful flat glasses can be seen in the Naples Museum. But window glass appeared even later than various glass vessels, since a flat glass sheet is technologically more difficult to make. Louis XIV first installed glass in the windows of his palace in the mid-17th century. Window glass then, of course, was not the same as in our time, and consisted of small rectangles inserted into a finely woven frame.

The frescoes and mosaics of Pompeii depict people dressed in medieval clothing. They use home furniture, which began to be made only in the Middle Ages, and household items, which appeared at the same time.

Fragment of a mosaic image from Pompeii. The attire of women is not so interesting - there are many such pictures in Pompeii. Pay attention to the decoration of the couch - how complex its fabric is, as well as the elegance of the table. These things are the result of technologies achieved in late Middle Ages. Then they came into use.

Among the things found during excavations are various complex metal tools, including medical, for example, gynecological. In addition to the technological point, which indicates that these objects appeared in the Middle Ages, this is also a question of humanism. And this directly indicates that the Pompeii were experiencing the Renaissance, or perhaps even more so. late time. Images of still lifes that received independent meaning V fine arts only in the 17th century.

In Pompeii you can find an image of a pineapple. But pineapple is an American plant, and it could only get to Europe after Columbus’s voyage. It is completely impossible to explain how and where the artist could see this fruit within the framework of traditional chronology.

And a few more photographs indicating the presence of a culture in Pompeii that appeared no earlier than the Renaissance.

The phenomenon of Pompeii is a unique case that has preserved ancient cultural monuments in such quantity and variety. This is especially true for secular wall painting, which is almost no longer preserved anywhere in the world. However, getting acquainted with this real ancient heritage, we see that it is, in fact, medieval. And it has not disappeared anywhere: exactly the same works of art can be found in abundance in Florence or Rome, as well as in any major museums world, where they are considered monuments of the Late Middle Ages.

Also on PhotoTelegraph:

Where's the pineapple picture? Such a trump card and only in words.

• Unfortunately, I couldn't find a photo. But even without the pineapple, there are enough questions for historians.

Glass was known to the ancient Egyptians, and reached its peak in antiquity. Pineapples grow in Africa, where the Romans fought for many years. Home furniture has been known since the times of Ancient Babylon, and Greek beds were mentioned by Homer. The Three Graces is a classic plot that appears on both bas-reliefs and coins; Raphael did not invent it. Art historians do not hide the ancient still life from anyone, and the legend about the painters Parrhasia and Zevekis, who competed in this genre, is published in all textbooks. Comrade, well, you should at least read a book or something...

• Pineapples in Africa? Why in Africa? Now they are growing in many places. Surely in Italy itself too. No one disputes that some descriptions of furniture are found in literature and art. Yes, here it is, a bed, in a Pompeian painting, why refer to Homer? It is clear that it existed in antiquity)) Also, no one argues about the classic plot of the three graces. It's about about the identity of the scene. Show a coin with the same position of the bodies. Still life... legends are not an argument (see above about the bed). In short, at least think about what you write before you send people out to read books.

  • • Thank you. I went to Google to search travel notes Raphael.

Pineapples actually originate from America and came to Europe with Columbus.
But there is no photograph with the “pineapple from Pompeii”, and I suspect that there will not be one.
And if the events occurred at such a late time, then the author of the theory will easily provide evidence from the records of that era. Yeah?

• What records? About the eruption of Vesuvius? Will Pliny the Younger arrange it?))

Yes, pineapples and other representatives of the bromeliad family live only in the New World. But glass, clothing, architecture, painting and literature are known to us in crumbs. The Great Cataclysm occurred - the barbarians destroyed the Great Roman Empire. They had no time for stupidity! “Peace to huts - war to palaces!” The entire culture died in this meat grinder. The Arabs kept the fragments. Christians destroyed all previous “pagan cultures.” And the Renaissance is a revival because they recreated what was previously lost and tried to free themselves from the shackles of religion. How many more things will excavations in Egypt present us with - continuous Pompeii!

• About the barbarians who destroyed ancient civilization is historical nonsense that has nothing to do with the real past. No one anywhere in observable history could destroy knowledge, skills and any other accumulated experience. People cannot forget how to draw, count or build. Especially for many centuries.

The death of civilizations is a real thing. We know little about the Sumerian, Babylonian, and May civilizations; we know nothing about the civilizations of the Asian subtropical zone, which we are just beginning to unearth now. Compare the times of the Carolingians-Meravingians and the same Pompeii.... The savagery of the early Middle Ages in comparison with Ancient Egypt... The carriers of knowledge (documents and people) were destroyed, there was no need for them. Look at the history of science and the arts.

• If we know little about some ancient peoples, this does not mean that we have a reason to refute the data of the natural sciences - biology, psychology, etc. The need for knowledge has always been present; it is inherent in human nature. And it cannot be destroyed. Well, this is science. Therefore, what you wrote about could not have happened either. These are historical tales.

  Victor, no one disputes that the destruction of civilizations took place. The only question is when this happened. Ancient civilization is the predecessor of modern European-Atlantic civilization and therefore it is quite easy to trace the logic of its development. The sack of the Roman Empire by barbarians is a myth. On this occasion, you can read the popular book by the Englishmen Terry Jones and Alan Erair “Barbarians against Rome” http://territa.ru/load/1-1-0-3627. Another question - wasn’t the Eastern Roman Empire, that is, Byzantium (which existed until the 15th century), was not the heir to the entire ancient culture? Then why did it fall into decay there, because no one plundered it?

Learn to admit mistakes:-0)))

VVendigo, how blind are you to everything that goes beyond generally accepted judgments and concepts, but once upon a time the majority believed that the sun revolves around the earth and this is true and obvious knowledge... you must not only read dear Vendigo, but also analyze, ask questions and doubt .

“How could Raphael borrow this image if the fresco was dug up only two centuries after his death?..” - image “ three graces” was quite popular in ancient period. In addition to the mentioned fresco, there were sculptural images and their Roman copies; One of them, I’m sure, inspired the artist.

a book on a fresco, officially printing in Europe dates back to the 15th century, 1400s. I was once in Pompeii, they are being restored and completed. By the way, there is a monument in Naples that talks about the disaster in Pompeii. And the 17th century is indicated there.

“On the road from Naples south to the Tora Annunziata, 15 kilometers from Naples, you can see a monument - an epitaph on the facade of the Villa of Pharaoh Mennella to those killed in the eruption of Vesuvius in 1631 - two stone plates with text in Latin.

On one of them, in the list of dead cities, along with Resina and Portici, the cities of Pompeii and Herculaneum are mentioned!!!”

• Kver
  Sorry, but on the fresco there are not books, but so-called wax sheets, stacked planks, connected by a cord in pairs or all together, covered with wax. They wrote on them with a stylus - there it is in the hands of the poetess and the young man.
  You will see such a writing set in any museum dedicated to antiquity.

Lucius Anyaeus Seneca, who lived in the first century A.D. wrote in “Moral Letters to Lucilius”:

1. You, Lucilius, most worthy of men, are of course familiar with Pompeii - a populous, prosperous city in Campania, which lies on the shore of a wonderful gulf, separated from the open sea on one side by the Surrente and Stabian coast, and on the other by the Herculan coast. And recently we heard that this city was destroyed by an earthquake, and its surroundings were also damaged; and this happened in winter, contrary to the assurances of our ancestors that earthquakes do not happen in winter.1

2. The disaster occurred in the February Nones, during the consulate of Regulus and Verginius; 2 it is true that Campania was never free from the threat of such disasters, but they happened so many times without causing any harm that the fear of them passed; and then a crushing blow shook her all. For even in Herculaneum part of the city collapsed, and the surviving buildings inspire fear; The Nuceria colony also suffered,3 although there were no major casualties there. Naples was only slightly affected by a monstrous disaster: many private houses collapsed, all public buildings survived, some villas were destroyed, but the majority, swaying, survived.

3. They also tell the following details: a flock of six hundred sheep perished entirely; statues were split in half; when it was all over, we met people who had lost their minds and were wandering around out of their minds wherever they looked.” (Book VI, Chapter 1).

Chapter I

• The earthquake that occurred in Pompeii on February 5, 62 AD. e. and described in the Annals of Tacitus, became a harbinger of the disaster that occurred seven years later - i.e. August 24, 79.

I was too lazy to draw

Three Graces

Three Graces
The ancient Romans had goddesses of youth, beauty and fun, spreading joy and charm. They were depicted as three beautiful girls.

encyclopedic Dictionary winged words and expressions. - M.: “Locked-Press”. Vadim Serov. 2003.

Three Graces

The ancient Romans had goddesses of youth, beauty and fun, spreading joy and charm. They were depicted as three beautiful girls.

Dictionary of catch words. Plutex. 2004.

See what the “Three Graces” are in other dictionaries:

Three Graces- wing. sl. The ancient Romans had goddesses of youth, beauty and fun, spreading joy and charm. They were depicted as three beautiful girls... Universal additional practical Dictionary I. Mostitsky

The Three Graces were considered ancient world: You were born... all three, not four! M.Yu. Lermontov. Impromptu. See grace... Michelson's Large Explanatory and Phraseological Dictionary

Raphael Santi Three Graces, approximately 1504 ... Wikipedia

Graces- Graces. Peter Powell Rubens. Three Graces. Wood, oil. GRACES, in Roman mythology, three goddesses of beauty, grace and joy. Corresponds to the Greek charites. ... Illustrated Encyclopedic Dictionary

Graces (Harites)- The Three Graces, daughters of Zeus, called by Hesiod Aglaia (shining), Euphrosyne (well-meaning) and Thalia (blooming), personify the good, joyful, eternal young beginnings life. The Graces often accompany the goddess of love, Aphrodite. Horace depicted them in... Ancient world. Dictionary-reference book.

The Three Graces represent Beauty, Love and Pleasure and mean, respectively, to give, receive and reward. These are the handmaidens of Venus. They are either naked when they want there to be no deception in them (Servius), or dressed in transparent tunics when... ... Dictionary of symbols

GRACES- (CHARITES) The Three Graces, daughters of Zeus, called by Hesiod Aglaia (“shining”), Euphrosyne (“well-minded”) and Thalia (“blooming”), personify the good, joyful, eternally youthful beginning of life. The Graces often accompany the goddess of love, Aphrodite. Horace... ... Dictionary-reference book on Ancient Greece and Rome, on mythology Historical Dictionary

Alternatively gifted.

I won't comment on anything. I’ll just show the “Three Graces” in art exactly as they are shown by Raphael. I will go from him to antiquity. Naturally, there are different traditions their images, but you, my dear readers, can find the rest yourself.

In art, they are usually depicted grouped in such a way that the two outermost ones face the viewer, and the one in the middle faces back, with the head turned half-turn. This was their ancient pose, known and copied during the Renaissance. IN different centuries graces were endowed with different allegorical meanings.

Three Graces. Raphael. 1504

The group of figures of the Three Graces is based on a Roman sculpture by the Piccolomini family, who moved the statue from their Roman palace to Siena in 1502. Around the same time, Raphael was in Siena, helping Pinturicchio with the design of the Piccolomini Library, where the sculpture was exhibited.

Three Graces. Triumph of Venus. 1476-84

Francesco Cossa. Fresco from Palazzo Schifanoia, Ferrara. Triumph of Venus. 1476-84

Three Graces. Paris. Louvre. II century AD

Marble. Roman copy of the imperial period (2nd century AD?) from a Hellenistic original. The heads are modern.

Origin: Rome, Caelium, villa Cor-no-va-lia. Pri-ob-re-te-na in 1807 from the collection of Bor-ge-se. A significant part (including the entire head) of the restoration in 1609 by Nicolas Cordier (1565- 1612) for kar-di-na-la Shipi-o-na Bor-ge-se (Scipion Borghese).