What Raphael wrote. Rafael Santi: the most famous paintings

Italy gave the world a huge number of great artists, architects, and graphic artists. Among them, Rafael Santi shines brightly. An architect and artist well known to the modern world, he left a rich legacy that surprises and delights true art connoisseurs.

Biography

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

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

The first years of Rafael Santi's life left bright strokes on the boy's consciousness and his preferences. The reason for this impact of the surrounding world was the birth into the family of a court artist who worked under the Duke of Urbino. Here the young artist managed to take his first creative steps. The earliest work of the master of painting is considered to be the fresco “Madonna and Child,” which was kept in the house-museum for many years.

There are few results left from creative research and independent search for a path. Among the first were works by Raphael Santi for the church of Sant'Agostino, located in Città di Castello:

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

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

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

1504 There was an acquaintance with Baldassar Castiglione, which was followed by a move to Florence, where Raphael Santi lived for several years. Having met Michelangelo, Leonardo da Vinci, and other great Italian artists of this period, Santi becomes familiar with the technique recognized geniuses, learns, absorbing knowledge and skills like a sponge. The young artist’s thoughts were absorbed in his studies and work on new paintings.

Rafael Santi's drawings were not completely absorbing. Architecture became my second passion. The artist learned a lot from his mentors, who happily shared their experience and knowledge. Rafael Santi's achievements surprised them.

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

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

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

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

According to researchers, Raphael was interested in the architecture of the past. While excavating in Rome, the architect-researcher contracted a special type of Roman fever, which caused his death on April 6, 1520. The disease took away the 37-year-old genius, who during his short existence managed to leave a deep mark in various fields of art. Raphael's tomb was decorated with the epitaph:

“Here lies the great Raphael, during his life nature was afraid of being defeated, and after his death she was afraid to die.”

Creation

The master created his first works to order for churches in 1499-1501. Peruge actually inspired the young artist to write on religious themes, creating altar paintings and small canvases. But most of all, Rafael Santi was inspired by the image of Madonna.

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

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

Rafael Santi: the most famous paintings

“Sistine Madonna”, combining the unity of the mortal body, the Holy Spirit, birth, atonement of sins.

Raphael Santi - Sistine Madonna

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

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

“The School of Athens” is a canvas that brings together images of famous philosophers and teachers Greek culture. The artist amazed his contemporaries and descendants with his painting.

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

“The Lady with the Unicorn” glorifies the beauty and miracle of the purity of spirit and body.

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

"Beautiful gardener." The enchanting image of the Madonna caring for the world, like a good gardener cares for orchard.

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

“Madonna in an Armchair”, personifying beauty, purity of soul, and the joy of motherhood.

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

“The Knight’s Dream” is an image that embodies the eternal choice between pleasure and virtue.

“Madonna Alba”, which has long belonged to the Spanish family of the same name and embodies the unity of soul, body and Spirit, knowledge of the future path, and readiness to follow it.

Works of Rafael Santi

Conclusion

Bibliography

Introduction

The work of Raphael Santi in its entirety is connected with the spiritual culture of the Renaissance, where the ideals of humanism and beauty were embodied. Raphael, as a great master, is of interest to art critics and art historians; extensive research literature is devoted to his era. Perhaps all this is connected not only with the general recognition of his grandiose achievements in painting, graphics, architecture - but also with that clear, calm and ideal structure of all of Raphael’s art. It’s difficult for me, being an inexperienced (more precisely, only learning) person in such a subtle field as fine art, to talk about the lovely silhouettes created by Raphael and, moreover, even if for myself, to evaluate them.

Therefore, I read a collection of articles under the general title “Raphael and His Time,” where scientists present the problems (and ways to solve them) of the work of the great artist. The editorial board of the collection notes in the introductory article that the number of questions about Raphael’s work is disproportionately greater. The most important of them are discussed in the research papers included in the book. The purpose of creating the collection was “to study his work in the context of artistic quests, philosophy, aesthetics, literature, music of the Renaissance,” which “allows us to more fully reveal both the significance of Raphael for his time, and the significance of time for the formation and improvement genius artist" (p. 5) It is probably difficult to speak about the greats, because any words, I think, are not capable of expressing all the feelings that are conveyed by colors, strokes in the works of masters, gifted painters.

Please excuse me for such an unclear motive for writing the test, but this moment I am equally interested in Leonardo, Michelangelo, and Raphael. This year, as well as in the past, we managed to watch a lot of documentary and popular science films about the life and work of Michelangelo; a little earlier, Leonardo da Vinci came to the attention of mass television. In a word, I can name the stages of Raphael’s creativity as a gap in education (for me personally). Moreover, emotionally, I perceive the work of this particular master more easily. Unfortunately, not a single work in the collection “Raphael and His Time” reflects the issue of the legacy of Raphael’s era, which resulted in Pre-Raphaelism. It seems to me that the works of representatives of Raphaelian aesthetics in art are so beautiful, exquisite - aristocratic and, in my opinion, somewhat imitative. By the way, in the word “imitation” one cannot see only the negative side of the “probable absence individual traits" Presumably, Raphael himself wrote to Baldassare Castiglione that in the search for a single example that embodied the dream of the ideal, one has to “see many beauties ...”, “but due to the lack ... of beautiful women, I use some idea ... that comes to my mind.” . (p. 10). In these words I see an explanation of the very attempt to imitate the beautiful - the desire to reproduce the beauty encountered at times gives rise not only to copying, but also to an increase in the number of admirers of beauty too. Understanding of beauty is cultivated through imitation. “Raphael’s art is distinguished by its rare ability for broad artistic generalization. His natural talent powerfully gravitated toward synthesis.” As V.N. says Grashchenkov, Raphael himself “saw the task of his own art” not in “imitation of the ancients,” but in “ creative involvement to their artistic ideals." (p. 10).

About what I didn’t know before and my impressions of the materials I read test. About the genius of Raphael Santi, whose “certain idea” is Platonic in origin. “But he understands it more specifically and sensually - tangibly, as a kind of visible ideal, which he is guided by as a model. This ideal of artistic perfection changed noticeably as his work developed, acquiring an increasingly full-blooded and meaningful character,” “performing ... an evolution from intimacy to monumentality” (p. 10) in terms of a harmonious world.

Works of Rafael Santi

“He started in Urbino as a boy, probably in his father’s workshop – a bit of an artist, a bit of a jeweler – then studied in the workshop of Timoteo Vitti. Then there was Perugia. The “Crucifixion” has been preserved from those early times. Raphael here is just a faithful student of Perugino. He copies the master’s style and manner so much that, as the famous Soviet art critic B.R. rightly notes. Whipper, one would hardly have guessed that this was not Perugino if not for Raphael’s signature.” (A. Varshavsky).

From 1500 Raphael worked in Perugino's workshop. Of course, the influence of this master on Raphael was decisive. The style of young Raphael was formed in his native Urbino; ​​the entire initial period of creativity took place in the quiet mountain towns of Umbria. It was at the beginning of his creative career that Raphael was influenced by his provincial teachers, and then he came to Perugino’s workshop. V.N. Grashchenkov says that in the techniques of composition, “stories” easily came close to the representative structure of the altar image. In turn, “story” is a type of multi-figure composition. “Renaissance artists became acquainted with ancient reliefs, which led to the development of structural and rhythmic principles of a new classical style. Raphael brought this tendency towards monumental enlargement of forms, towards simplicity and clarity of the whole to perfection.” The scientist writes that the architectonic nature of Raphael’s painting was a consequence of the representative tradition that he inherited from the art of his native Urbino. From the works of Piero della Francesca, who lived in the city for a long time. This legacy of Urbino was reworked by Raphael, felt more deeply and fruitfully. Following the examples of the Florentines, Raphael mastered plastic arts human body and the expression of living human feeling. Urbino was one of the artistic centers in the 60s and 70s. XV century At the invitation of the city ruler, Italian masters and even artists from other countries worked there. The works of the masters, their paintings and the embodied architectural thought had a decisive influence on the formation of the ideals of Bramante, a native of the outskirts of Urbino. Probably all this diversity had the same influence on Raphael. It was the spirit of true classicism. Meeting in Rome many years later, Raphael and Bramante quite easily found common ground, precisely thanks to the source of their ideals, which was the artistic life of Urbino. It is known that the work of Piero della Francesca influenced the new direction of Umbrian painting with its “perspective synthesis of form and color” (R. Longhi). Raphael also perceived this through his Umbrian teachers. “The Betrothal of Mary” is an independent and powerful work.

"The Betrothal of Mary" written in 1504 (Milan, Brera). All the figures “form a very integral and beautiful spatial-rhythmic grouping. The free space of the deserted square serves as a pause between the figures, the slight movement of which is conveyed by smooth, wavy lines, and the calm, slender forms of the rotunda temple, the dome of which repeats the semi-circular completion of the entire picture. And even in the coloring, even if it did not have the transparency and airiness of Piero della Francesca, Raphael managed to find the proper harmony. His dense and pure colors - red, blue, green, ocher - are well combined in the light yellowishness of the overall tone, with its warmth softening the excessive dryness of the drawing and the harsh color.”

This is a verbatim quotation of the description of the painting given by Grashchenkov. I am only attaching a black and white reproduction, so I will use precise wording specialist It is very important for me that the test retains many of the assessments of the scientists themselves, researchers of Raphael’s work, so I will give a quote describing another early work of the artist - "Madonna Conestabile" (St. Petersburg, Hermitage). “...written by him most likely at the end of 1502 - beginning of 1503. Sad memories of an early deceased mother, enchanting pictures of their native places merged here into a single harmonious image, into a pure gentle melody of a naive but sincere poetic feeling. Rounded lines softly outline the figures of the Mother of God and the Child. They are echoed by the outlines of the spring landscape. The round frame of the picture appears as a natural completion of the rhythmic play of lines. The fragile, girlish image of Mary, the mood of quiet thoughtfulness, is well suited to the desert landscape - with the mirror-like surface of the lake, with slightly green hillsides, with thin trees still devoid of foliage, with the coolness of snowy mountain peaks shining in the distance.

...However, this small painting is still executed in tempera, with an almost miniature delicacy of writing and a simplified interpretation of the figures and landscape.” Noteworthy is the story surrounding the appearance of the painting in the Hermitage, which is given in the article by T.K. Kustodieva "Raphael's Paintings in the Hermitage". The title of the work by Raphael is “Madonna del Libro”, which was made at the request of Alfani di Diamante. Despite a number of doubts about this, it is obvious that this particular painting is mentioned among the property of the owners in 1660. It is this painting that is listed in the inventories of 1665, after the death of Marcello Alfani. After the Alfani family received the title of Counts della Staffa in the 18th century, the family, through marriage, united with the Conestabile family. This is where the Conestabile della Staffa family comes from. The painting was kept in the family for centuries, until in 1869 Count Scipione Conestabile, due to financial difficulties, was forced to sell the collection of works of art. Among them was the famous “Madonna” by Raphael. It should be mentioned that Kustodieva notes in the article that for his small masterpiece, Raphael created the original frame, and the stucco ornament was made on the same board that served as the basis for the painting. Through Count Stroganov, as well as the director of the Hermitage A.S. Gedeonov, “Madonna del Libro” was purchased for a lot of money and presented by Alexander II to his wife Maria Alexandrovna. Kustodieva writes: “In connection with the development of a type of semi-figured image of Mary at the end of the Umbrian period, the possibility of precise dating of the “Madonna Conestabile” arises. ... It seems to us the most convincing ... 1504, the end of the Umbrian period, until the autumn of this year Raphael moved to Florence. The basis of such dating is stylistic analysis early works masters These include the Simon Madonna and the Soli Madonna, which are generally dated to 1500–1501. In both paintings, Mary is positioned frontally, the baby is placed so that his body is against the background of the mother’s figure, without going beyond her cloak. The poses of Christ reveal great similarities. The figure of Mary almost completely fills the foreground, leaving only minimal space for the landscape on the right and left. A comparison of these works with the Conestabile Madonna shows that the Hermitage painting is the next step in the development of such compositions. ... Thus, the characters are united not only externally, but also endowed with the same mood of concentrated thoughtfulness. ... “Madonna Conestabile” is most often adjacent to “Madonna Terranuova”, which is recognized by all researchers as one of the first paintings created by the master in Florence. Its "Florentine" origin is proven undoubted influence Leonardo da Vinci." (T.K. Kustodieva “Works of Raphael in the Hermitage”). V.N. Grashchenkov notes that the painting “Madonna Conestabile” only marked the beginning of the creation of those paintings where, as an artist, Raphael goes much further, combining “the former Umbrian grace” with “purely Florentine plasticity.” His “Madonnas” “lose their former fragility and prayerful contemplation” and become “more earthly and humane”, “more complex in conveying the nuances of living feelings.” Four years later in Florence (1504–1508) he independently studied everything that this highest art school Italy could give it to him. “He learned a lot from Leonardo and the young Michelangelo, became close to Fra Bartolomeo... He came into serious contact with works of ancient sculpture for the first time.” (p. 12). Florence was at that time the “cradle of the Italian Renaissance.” This city remained faithful to republican and humanistic ideals. And is it worth talking about how generous Florence is with talent? Michelangelo, Leonardo... Names alone are certainly not enough to comprehend the enormity of the talent of these masters, but if you know the little that is told in the media, you can imagine the merits of both Michelangelo and Leonardo. A. Varshavsky writes: “Raphael spends four years in Florence. From Leonardo (more precisely, from the works of Leonardo, his studies were, so to speak, correspondence) he learns to depict the movement of figures. Michelangelo has plasticity, the ability to calmly convey a sense of dynamism.” (p. 128). The paintings of those years are widely known - "Madonna of the Meadow" (1505 or 1506), "Madonna with the Goldfinch" (c. 1506) and "The Beautiful Gardener" (1507). These paintings are distinguished, according to Grashchenkov, by “a more compact grouping of figures” and “greater ideality of the landscape.” The researcher points out that Raphael borrowed this type of composition from Leonardo. “After the monotony of Perugino’s artistic techniques, Raphael must have realized with particular acuteness all the infinite richness of Leonardo’s mature art when he first became acquainted with him in Florence.” (“Raphael and his time”, p. 24). As Grashchenkov notes, Raphael “refused the psychological refinement of Leonardo, which was alien to him, in the name of a simpler and clearer, ... more accessible expression of the beauty of motherhood.” (ibid.). According to experts, Raphael was little attracted to the composition of the so-called “holy interview,” “where the Mother of God was depicted on a throne, surrounded by saints and angels.” Therefore, he was attracted by a different interpretation of the image of Madonna. “These are those numerous, often... semi-figured images... where she (the Mother of God) is represented tenderly hugging a child who responds to her with his affection.” (ibid.). Grashchenkov calls this a “deeply human reincarnation of ancient iconography” and suggests that it was in the reliefs of the Padua altar that Donatello could have gleaned the idea "Madonna Tempi" Raphael. The researcher writes that this picture is “the most ardent, most humanly direct expression mother's love" (ibid.). Raphael’s “Madonnas” “live in harmony with their feelings, in harmony with nature, with people. ... These “Madonnas” were called upon to serve religious thoughts, like once upon a time ... icons. But there is nothing in their appearance that would excite the thought of the ascetic ideas of Christianity. This is happy Christianity...” (ibid., p. 24).

It is worth noting that Raphael did not rest on the achieved results and “strove for more intense plasticity in building the group.” Despite the modest size of the paintings, the monumental scale and internal drama of the images force us to admit that the master “with unprecedented emotionality is able to convey the protective power of a hot mother’s embrace.” (ibid.). However, Raphael avoids the “tragic stiffness” that “deprives the body of freedom of movement,” a manner so characteristic of Michelangelo.

Scientists emphasize the fact that “Raphael’s fantasy is visited by a different image of the Madonna - solemn and sad, as if aware of the sacrifice she must make to people. He always thinks of such a composition as an image of Mary standing with a baby in her arms.” (ibid.). Previous "Sistine Madonna" work can be called certain stages of the search for expressive means. I looked at reproductions of some “Madonnas,” but, not being a specialist, I hardly noticed any inherent stylistic changes. Of course, each work is valuable in itself, and I like this feature in the work of any master. Any painting is a masterpiece. Despite my more fluent knowledge about the stages of Raphael’s work, my attitude towards the great painters, sculptors, and architects will always remain at the level of “NOT DISCUSSED!” and you can do whatever you want with me. If you allow me, I will say what I consider true for myself: Raphael’s works, not only paintings, but everything, are “energetically” very recognizable. And if, at this very level, there is sympathy between the viewer and the author of the picture - the meaning of the artistic device can be considered progressive or outdated - this will not spoil the pleasure for me personally. Only those who do nothing make no mistakes. And a talented artist who lived so long ago is very easy to discuss and talk about his work, constantly comparing it with the works of equally talented ones... I am concerned about evaluative opinions, articles that allow certain “experts” to write and publish them. When an artist is criticized by an artist, this (for me) is an understandable event. A connoisseur can love, everyone else better not pose as art critics. If you don't like it, don't watch it. Agree, the picture cannot respond to an unfair assessment, and it cannot respond to praise! And this painting (“Sistine Madonna”) is so perfect in composition that the viewer seems to be present at the sacrament depicted in it. Now, let me allow myself some quotes about the “Sistine Madonna”, from the article “On the Art of Raphael”:

“Wanting to present the appearance of the Mother of God as a visible miracle, Raphael boldly introduces the naturalistic motif of the parted curtain. Usually such a curtain is opened by angels... But in Raphael’s painting the curtain opened on its own, drawn by an unknown force. There is also a touch of supernaturalism in the ease with which Mary, clutching her heavy son to her, walks, barely touching the surface of the cloud with her bare feet. In his immortal creation, Raphael combined the features of the highest religious ideality with the highest humanity, presenting the queen of heaven with a sad son in her arms - proud, inaccessible, mournful - descending towards people.”

“It is easy to notice that there is neither earth nor sky in the picture. There is no familiar landscape or architectural decoration in the depths.”

“The entire rhythmic structure of the picture is such that it inevitably, again and again, draws our attention to its center, to where the Madonna rises above everything.”

“Different generations, different people saw their own in the Sistine Madonna. Some saw in it the expression of only a religious idea. Others interpreted the picture from the point of view of the moral and philosophical content hidden in it. Still others valued its artistic perfection. But, apparently, all three of these aspects are inseparable from each other.” (all quotes from the article by V.N. Grashchenkov).

A. Varshavsky in the article “The Sistine Madonna” quotes Vasari: “He (Raphael) performed for the black monks (monastery) of St. Sixtus plaque (image) of the main altar, with the appearance of the Mother of God of St. Sixtus and St. Barbara; a unique and original creation.” In 1425, “the former convent passed to the Benedictine monks of the congregation of St. Justina in Padua. ...He is now directly subordinate to the pope, he is exempt from taxes and taxes, the abbot of the monastery receives the right to wear a miter. Pope Julius II, ... united the monastery of Monte Cassino with this congregation (...). Monastery of St. Sixta found himself part of the powerful congregation of Monte Cassino, whose abbot now bore the title Chief Superiors of the Benedictine Order, Chancellor and Grand Chaplain of the Roman Empire (…). These Benedictines are the very “black monks” that Vasari reported about.” (ibid.).

In 1508, on the recommendation of Donato Bramante, Raphael was invited to Rome on behalf of Julius II. Bramante was at that time the chief architect of the Vatican and, as is known, was part of the circle close to the pope. “He (Raphael) settled in the Eternal City, probably at the end of 1508, perhaps a little earlier, not without the assistance, perhaps, of the papal architect Bramante, who in those years became one of the great strength. However, Raphael undoubtedly owed his appearance in Rome primarily to himself - to his irrepressible passion for improvement, for everything new, for large-scale work.” (A. Varshavsky).

Scientists do not indicate a direct relationship between Raphael and Bramante (given the help that the latter provides to Raphael, it is natural to assume this), but they do not deny this possibility. Rather, they were good acquaintances or friends. As I.A. writes Bartenev in the article “Raphael and Architecture”: “Raphael was invited to Rome to work on painting the Vatican Palace. This work took a long time. In 1509, the artist received a permanent position as “apostolic painter” under Pope Julius II, who entrusted him with painting “stanzas”. During these years he works in parallel with Bramante, who influences him big influence. Undoubtedly, then Raphael comprehended a lot in architecture. During this period, Bramante developed a project and began construction of the Cathedral of St. Peter - the central building of the era. There is no doubt that Bramante initiated Raphael into the progress of his work, which was of great importance for the subsequent stage of construction. He became both a mentor and patron young master. While working on the Vatican Palace, Raphael focused his main attention on painting the four halls of the papal chambers. The frescoes of the Vatican are perfectly connected with the interior; they are inseparable from the architecture. This is one of the most striking and convincing examples of the true synthesis of the arts of the Renaissance." According to Grashchenkov, Raphael’s Vatican frescoes, together with Leonardo’s “The Last Supper” and Michelangelo’s Sistine ceiling, are the pinnacle of monumental painting of the Renaissance. “...the main attraction of the Vatican, in addition to the Sistine Chapel, is undoubtedly the stanzas (stanza - room) - three not very large vaulted rooms on the second floor of the old part of the palace, built in the mid-15th century.” (Warshavsky). First, the middle of the three “stanzas” was painted - “Stanza della Segnatura” (segnatura - in Italian “signature”, papal documents were signed here) (1508–1511) and then, for six years (1511–1517) successively “Stanza d'Eliodoro" and "Stanza del Incendio". “However, the frescoes in the third stanza were mainly completed – not very successfully – by his (Raphael’s) students: the master was busy with other orders. But the paintings in the first two stanzas became not only the pride and glory of Raphael, but also the pride and glory of all Renaissance art, all world art.” (A. Varshavsky). In general, the painting of the “Stanza del Incendio” began, according to some sources, in 1514 and continued until 1517. The master spent a lot of time on construction work and creating carpets to decorate the Sistine Chapel. Raphael's monumental style developed and changed, and, having reached its culmination, began to fade. “The history of the creation of the Vatican frescoes by the master is, as it were, a condensed, concentrated history of all the classical art of the High Renaissance” (“On the Art of Raphael,” p. 33). Researchers believe that the basis of each cycle was literary program, which was suggested to Raphael by scientific advisers. Of course, he could choose for himself. It is believed that there was no strict regulation of the work. The real interest of scientists is caused by “how Raphael translated the abstract and didactic idea of ​​the consonant unity of religion, science, art and law into the language of painting...”. (ibid.). The structure of the frescoes, according to Grashchenkov, is predetermined by the nature of the room and “the semicircular ends of the walls of each “stanza” served as the initial rhythmic leitmotif in the construction.” In turn, it was noted that “the architectural and rhythmic unity of all parts of the painting is complemented by the consistency of their color scheme.” The painting contains a lot of gold combined with blue and white flowers. The backgrounds are painted in the form of a gold mosaic or a gold ornament is given along the blue field. This gold is combined with an abundance of yellow tones in the wall frescoes (“Disputa”). The light gray architecture of the “School of Athens” is also slightly golden. All these color combinations give rise to “the colorful unity of the entire ensemble and that mood of happy and free harmony of being, which directly prepares for more deep perception individual frescoes." Despite the division, the parts form complete artistic independence. Just like easel painting. Scientists emphasize that there is nothing forced or frozen in Raphael’s composition. “Each figure... retains its inherent truthful naturalness. Her connection with other figures is due not to the impersonal spiritualism of a common ascetic idea, as in medieval art, but to the free consciousness of the highest truth of those ideals in which faith brought them together” (“Disputa”). In the “School of Athens,” Raphael, through painting, reconciles and unites Plato and Aristotle. I.A. Smirnova in her article “Stanza della Segnatura” notes that the frescoes “Disputa” and “School of Athens” “most fully and comprehensively embody the image of Raphael’s harmoniously beautiful universe. Their spatial solution creates a feeling of “openness” of this world for us, expands the space of the hall, giving it a majestic balance of centric rooms, filling it with light and air.” The article touches on the programmatic issues of the “Stanza della Segnatura” and after analyzing the data, Smirnova summarizes: “... the hypothesis that the “Stanza della Segnatura” was intended by Julius II for the supreme papal tribunal has not yet been refuted.” And further: “... neither this purpose, nor the theme of justice and its divine origin exhausts the program of Raphael’s paintings in all its complexity and richness of meanings. Moreover, they do not exhaust the majestic, diverse and beautiful world of ideas and images, inspired by the humanistic concept of perfection, harmony and reason, which appears before us on the walls of Raphael’s “Stanza della Segnatura.” In the symbols depicted on the frescoes, the meaning and essence of the eras that humanity lives throughout the entire historical space. They are frescoes - carriers of symbols of ideas and ideas of humanity. According to Varshavsky: “One of ... the greatest creations in the history of mankind are the paintings in the “Stanza della Segnatura”, with their famous “Disputation”, “School of Athens”, “Parnassus” and with a fresco dedicated to justice, as well as many other individual compositions and allegorical figures... The depth of generalizations, the intensity of the colorful brush, the sharpness of contrasts, the dynamics of dramatic images, a rare compositional gift - everything testified to the enormous and ever-growing skill of the artist... both in concept and in execution.” (Article “The Sistine Madonna”, A. Varshavsky).

In "Stanza della Segnatura" Raphael's style is characterized as "graceful and grandiose", but already in "Stanza d'Eliodoro" it changes to monumental and more dramatic. “The figures have lost their grace and lightness.”

It is worth noting that the world “depicted in the frescoes of the Stanza della Segnatura was timeless.” The Stanza d'Eliodoro frescoes "depict specific scenes of church history." The former calm also disappears in the architectural construction of the frescoes - the space is rapidly unfolding. There is no airy blue sky. “The architectural decorations are crowded with dense rows of columns and pillars, hanging overhead with heavy arches.” Now “the real and the ideal form here a more complex and expressive alloy.” One of the plastic motifs that Raphael applied to various tasks can be considered a circular composition. Of course, there are many such favorite techniques. But, changing and moving from work to work, they are quite easily recognizable. They were subsequently used by other masters. R.I. Khlodovsky writes: “Contemplating Raphael’s frescoes, we can not only see what the highest ideal of the culture of the Italian Renaissance was, but also more or less clearly understand how this ideal developed historically. ...The self-reflection of the art of the Italian Renaissance was combined in Raphael with Renaissance historicism. The subjects of “Stanza della Segnatura” depict ideals that historically precede the ideal of Raphael’s frescoes and are present in this ideal.” To sum up the presentation of material about fresco painting, it must be said that for Raphael they were not at all decorations for the pleasure of the eye - the artist valued the strict proportionality of all parts of the whole, “each figure must have its own purpose.”

Since the “stanza” frescoes are monumental paintings, which are closely connected with architecture, it would not be out of place to mention the architectural creations of Raphael. In the article by I.A. Bartenev “Raphael and Architecture” we find a lot of valuable information. For example, scientists write that Raphael “with his architectural creations had a great influence on similar works of his students and on all subsequent development Italian architecture" The master worked on the design and construction of structures directly, also wrote some kind of projects directly on paintings, and also carried out fresco paintings of an ornamental and decorative order. In general, “the combination of several artistic professions in one person” for Italy in the 15th–16th centuries. - this is the norm. Continuity in the transmission of the profession and the skill itself from generation to generation was very common. Also, the era was distinguished by consistent training in various professions. “In Italy at the time in question, essentially, two “related” professions did not exist - the monumental painter and the painter of pictures, just as sculptors-monumentalists and masters of small plastic arts did not exist separately. Artists also worked on painting buildings (if we take painting), and they also created easel works. ...In the easel paintings of the Renaissance masters there were features of monumentality, and at the same time the wall paintings had all the signs of realism... Painting was unified, and this made it easier to improve it and at the same time facilitated the contact of artists with architecture, their solution of problems in decoration, in painting buildings "(I.A. Bartenev "Raphael and Architecture"). As already mentioned, since 1508 Raphael has been carrying out work on the decoration of the Vatican and the knowledge / skills acquired in Urbino and especially in Florence were developed and consolidated by the influence on the young artist of Roman antiquity. “It is known that the architects of the Italian Renaissance from an early time cultivated type of centric domed temple , which they contrasted with the traditional Gothic basilica. This was their ideal, and they made persistent efforts to establish this ideal. This process can be traced back in the works of Brunellesco and reaches its apogee in the works of Bramante, in the famous Tempietto, in fact his first Roman building (1502), and, finally, in the grandiose project of the Cathedral of St. Petra." (ibid.). As early as 1481, in his fresco “Transfer of the Keys” of the Sistine Chapel, Perugino depicts a rotundal temple in the center. And after twenty years, Raphael returns to the same topic. But “the architecture of Raphael’s rotundal temple is more collected than a similar composition by Perugino... it is more coherent, and the proportions and silhouette are distinguished by amazing perfection and grace. Grace, some special sophistication and sophistication of forms, while fully maintaining the feeling of monumentality, are the characteristic qualities of Raphael as an architect.” (ibid.). It must be said that the frescoes excellently depict architecture “using a number of motifs.” The architectural background of the “School of Athens” very accurately reproduces the interior of the Cathedral of St. Petra. Bartenev writes: “... it can be assumed that the entire staff of the “School of Athens” was corrected by Bramante. ... The majestic architecture depicted here, the mighty foundations - the pylons of the temple, decorated with an order - Tuscan pilasters, the coffered vaults widely “open” above them, sailing systems, niches with statues, reliefs - all this is drawn extremely professionally, in excellent proportions and testifies to fluency in architectural means. The character of the architecture... embodies those features that characterized the architecture of the High Renaissance period...” (“Raphael and Architecture”). After Bramante's death (1514), Raphael supervised the construction of the Cathedral of St. Petra. Fra Giocondo da Verona was brought in to help him, who was more experienced in construction and could solve some technical issues. In the summer of 1515, Raphael was appointed chief architect of the cathedral, and he would perform these duties for another 5 years, until his death in 1520. Bramante developed a design for a central domed temple, symmetrical along two axes. The higher clergy wanted something different, so amendments were made “toward the comprehensive development of the entrance, western, part.” According to researchers, Raphael had to solve the difficult task of reworking the plan of the cathedral. Perhaps he did not need such innovations, but the clergy, after the death of the “main author,” forced the master to begin revision. Raphael did not have time to add the “multi-nave western entrance part” to the main core of Bramante’s composition. Soon he will die. Bartenev writes: “If implemented, the main façade would be greatly pushed forward, and the domed part, accordingly, would visually recede into the background.” The artist in Rome was engaged in “the study of ancient monuments.” After the death of Fra Giocondo in 1515, Raphael was appointed chief “guardian of Roman antiquities.” He took part in the excavations of the “Golden House” of Nero and the Baths of Trajan. Decorative ornaments and paintings were discovered there. These paintings decorated underground rooms - grottoes (that's why these ornaments were called grotesques ). Taking advantage of the finds, Raphael boldly uses grotesques in the Loggia of San Domaso. As Bartenev writes: “...we are not talking about copying certain topics, but about free, creative approach, about the free arrangement of individually drawn motifs of a geometric, antique architectural order, figurative, plant, with the inclusion of images of animals, etc. ... themes.” Also, Raphael uses grotesques in the loggia of the Villa Madama and a number of other monuments of the 16th century. Researchers of Raphael’s work believe that he can be called “the founder of the ornamental and decorative art of the High Renaissance.” The paintings of the courtyard of San Domaso were called "Raphael's Loggias".

Raphael's buildings include: the church of Sant'Eligio degli Orefici (for the workshop of jewelers in Rome) - in the shape of a Greek equal-armed cross; the funeral chapel for the Agostino Chigi family - square in plan, with a small flat dome; Palazzo Vidoni - two-tiered in structure, with a massive rusticated first floor and a light portico of the second tier with paired three-quarter columns of the Tuscan order; Palazzo de Brescia in Rome - with an order in the form of pilasters; Palazzo Pandolfini (based on Raphael’s drawings) is a two-story building, which, adjacent to the garden, does not have the usual closed courtyard. As Bartenev writes: “The composition developed by Bramante and Raphael marked the emergence new system façade solutions for Italian palazzos…. The order... has established itself as the main theme of the façade solution. ... This building (Palazzo Pandolfini) ... was an example of a city mansion-palace...” Facades such as those in Palazzo Pandolfini and Palazzo Farnese (by Antonio Sangalo the Younger) will develop in the 16th–17th centuries. and later, and not only in Italy.

It should be noted that “... in the loggia of Villa Madama, the sculptural and pictorial ornamental means introduced by the artist, those grotesque motifs... reached... full expression and formed into... a pronounced plastic system. …. Extraordinary compositional ingenuity, diversity, grace and sophistication of design remain unsurpassed to this day, ... classic examples.” (Bartenev).

“The architecture of the Italian Renaissance... is distinguished by its complexity and... contradictory development. Raphael was at the highest point of this process, but the main line of movement in architecture did not pass through his work. At the same time, the latter constitutes one of the most striking phenomena in the architecture of Italy during the Cinquecento era. And the uniqueness of his artistic individuality in architecture is that he was basically an artist and, above all, an artist.” . (I.A. Bartenev).

It should be said about how modest the biographical data about Raphael is. V.D. Dazhina in her article “Raphael’s Roman entourage” writes:

“Little is known about Raphael’s personal life, about his relationships with friends, assistants, colleagues and customers; much more is known about the legends associated with him.”

Vasari, the author of a considerable number of biographies of artists, voluntarily or accidentally provided food for the legends about Raphael. Scientists believe that, despite the rich information fund, Vasari’s works contain a lot of some programmaticity and pathos. However, we need to pay special attention to Vasari's lengthy passages on Raphael, because what little we have about him is precious.

“In Vasari’s biography, Raphael appears as an active organizer, an artist in tireless search, a man who learns new things with inexhaustible curiosity, drawing creative inspiration from the great heritage of antiquity.” (“The Roman entourage of Raphael”).

V.N. Grashchenkov writes in the article “On the Art of Raphael” that he talks about Raphael’s nature as “soft and feminine,” “endowed with sensitive sensitivity and easily amenable to external influences.” There is no doubt, with one glance at the paintings of the Vatican “stanzas”, that it was receptivity that helped the artist reach that height in the visual arts that is so difficult to achieve.

Raphael's compositional solutions are incredible and perfect. Experts attribute this special exclusivity to their architectural nature, which is so close to monumental painting. All this is especially true in relation to the Roman period. Back in Florence, where Raphael mastered the mastery of composition and the ability to convey plastic expression, he prepared himself for what he could not know - what awaited him in Rome, where he began working at the end of 1508. From a provincial artist - the author of small, elegant paintings and charming “Madonna” - he immediately turned into a master, sometimes eclipsing those with whom he had recently studied.

As for external influences on Raphael, his tendency to imitate can only be attributed to the period of his youth, since subsequently the position of a mature master becomes clear, formulated by Giovanni Francesco Pico della Mirandola as follows: “Everyone needs to imitate good writers, and not just one, and in those things where they have reached the highest perfection, and so that their own inner talent is not distorted, but, on the contrary, the thread of the narrative is directed according to the inclination of the spirit and the way of speech of the speaker.” Applicable to fine art, this is quite consistent with the work of Raphael: he did not copy one or many, but based on his acquaintance with their works, he developed his own style. According to Pico, like Raphael, the authors are diverse and each, in their own way, excellent. “With this understanding of imitation, where the inclination of the human spirit is taken into account and the variety of forms of expression is recognized as natural and inevitable, the idea inherent in the mind of the master becomes the individualizing principle of the artistic style” (O.F. Kudryavtsev “Aesthetic quests of the humanists of Raphael’s circle”).

As he writes L.M. Bragina in his work “Aesthetic ideas in Italian humanism of the second half XV – started XVI V." , the humanistic ideal is embodied by Raphael on the basis of the classical style of the High Renaissance - the synthesizing stage of Renaissance art in Italy. This stage was prepared not only by the spontaneity of the development of art itself, but also by the maturity of humanism, the maturity of ethical and aesthetic concepts. Here it is necessary to mention the processes that contributed to the rise of the culture of this time. Bragina writes: “...the aesthetic theory of the Renaissance generalized ancient aesthetics and often through its prism mastered the experience of new art, based on the heritage of ancient masters. On the other hand, the art of the Renaissance not only perceived through the high examples of ancient art the principles that it reworked in accordance with its objectives, but also absorbed the theoretical thought of humanism with its new attitudes of consciousness and orientation towards a new way of perceiving the ancient heritage.” Based on this position, “we can talk about a peculiar typological relationship between the ideas about man, goodness, beauty, embodied in the work of Raphael, and the corresponding ideas of the aesthetic thought of the High Renaissance.”

So, we are talking about those ideas (concepts) that can be identified when considering the period of development of Renaissance aesthetics from the second half of the 15th - early 16th centuries. In 50 - 80 years. In the fifteenth century, “the greatest contributions to the aesthetic thought of humanism were made by Leon Batista Alberti, Marsilio Ficino, Giovanni Pico della Mirandola. 90s can be considered as the next stage in the development of Renaissance aesthetics, marked not so much by the emergence of new concepts, but by a tendency to synthesize the main results and conclusions to which different lines of evolution of aesthetic thought of the previous period led. ...Each of the great artists expressed a special understanding of the ethical and aesthetic problems of the time, colored by the originality of his personality, and enriched the ideals of Renaissance culture creative discoveries. The interconnection of the processes that took place in humanistic aesthetics and the art of the High Renaissance, the internal closeness of the quest allows us to perceive the theoretical achievements of the artistic thought of the Renaissance not as a kind of background for understanding Raphael’s work, but as the spiritual environment for the formation and development of his art, with which it was organically connected" ( L.M. Bragina, ibid.).

The most important and interesting position for me is the views of Mario Equicola (1470–1525), who served at the courts of the rulers of Ferrara and Mantua. His treatise “On the Nature of Love”, according to scientists, became an example of a humanistic topic on issues of “love philosophy”, an ethical and aesthetic encyclopedia, where this topic, although based on a Neoplatonic foundation, acquired a secular orientation (L.M. Bragina, there same). According to Bragina, at the beginning of the sixteenth century, the characteristic features of the aesthetic thought of humanism were “the increasing overcoming of the metaphysical approach to the interpretation of love and beauty,” such a conclusion can be made based on the writings of Cattani and Equicola. The latter, according to scientists, popularized Neoplatonic aesthetics and the development of certain cliches that influenced the formation of tastes and attitudes of the artistic intelligentsia. At the same time, one cannot help but notice that the popularization of the Neoplatonic concept of love led to a simplified understanding of the system of Neoplatonism. As Bragina writes, the philosophical position of humanists is marked by eclecticism and only the final conclusions of the author are aligned with the Neoplatonic concept. In fact, the author’s very reasoning often contradicts it, turning out to be much more “humanized” than “divine.” (ibid.).

Humanistic ideas influenced artists, as well as clients, shaping their ideology. At this time, Raphael's work took shape and flourished. (ibid.). O.F. Kudryavtsev refers to M. Dvorak, who says that Raphael abandons “preset plot schemes and naturalistic tendencies characteristic of the work of the Quattrocento masters, from whom the painter’s training began.” “Raphael, in The School of Athens and in his subsequent works, distributes figures and masses in a much freer manner.” (M. Dvorak “History of Italian Art in the Renaissance”). For Raphael, as Kudryavtsev writes, aesthetic perfection is the main goal of art. Hence the “architectonic balance” and very “free compositional solutions”, and even “ideal character typification”. Grace and beauty in the artist’s works are a consequence of synthesis, to which Raphael attached paramount importance.

Based on the ideology of humanism, one can imagine that those close to Raphael - Baldassare Castiglione, Pico, Bembo and other theorists of High Renaissance art "inherited an interest in the problems of beauty, in search of it, seeing the subject of their activity." ( O.F. Kudryavtsev “Aesthetic quests of the humanists of Raphael’s circle”) . Kudryavtsev notes that the concepts of “grace” and “gracefulness” are especially common when applied to the work of Raphael. And even if they are interpreted, at times, contradictory - Castiglione and the works of Raphael are inexplicably close in the understanding / presentation of “grace”. The article quotes from an article by E. Williamson:

“...the work of both is built on the concept of grace, which they shared equally and which in the same form and to the same extent is not inherent in any other writer or artist” (E. Williamson “The Concept of Grace in the Works of Raphael and Castiglione” ). The medieval understanding of grace continues to live in the culture of the Renaissance, undergoing rethinking. As Kudryavtsev writes: “grace is elegance or attractiveness that has a beneficial nature. …. Grace is, first of all, pleasantness and attractiveness, and it can be bestowed by any nature capable of creativity. And man also has this, this ... “earthly god,” “universal master,” unlimited in his potential to the point that he can create his own nature.” This means that only an individual is capable of making a reasonable choice of path when resolving issues; the author of the article points out that “the artistic thought of the Renaissance, having come to realize the importance of the subjective factor (based on the Renaissance concept of man as an active and independent being in his actions), did not nevertheless contrasted it with objective reality, but, on the contrary, found the inextricable, subtle interconnectedness of these principles.” (ibid.). Also, Castiglione has the idea that deliberateness and effort can rightfully turn the viewer away from a work of art, because in art it is art itself that cannot be depicted. Let's say, "stick out" technique. At least that's how I understand it. And since the subjective perception and transmission of the image in the era of the High Renaissance are interpreted as absolute, grace becomes the inner beauty of the image, a hidden and unknown constant, devoid of ordinary measure. Castiglione writes: “Often in painting there is only one unforced line, one brush stroke, laid lightly, so that it seems as if the hand, regardless of training or any art, is moving towards its goal in accordance with the intention of the artist, clearly showing the perfection of the master...” . According to Kudryavtsev, “in relation to Raphael... we can talk about a mutually enriching union of art and humanistic thought.” Indeed, if we take into account such a quality as susceptibility to external influences, we will see that Raphael (following the logic of events) with his creativity was able to determine the aesthetic aspirations in his contemporary society. Moreover, he could influence the artistic language and style of writing in the visual arts. Where does the logic come from? Here I adhere to an opinion that I consider completely my own, or that of the one whom I especially thank for it. I believe that observation and, at times, imitation is the main way of accumulating information/knowledge about a subject. Without painstaking study of other people's achievements and already accomplished discoveries, a person is capable of reinventing the wheel and considering himself a pioneer. Of course, it’s simply impossible to be on time everywhere, but to be on time in many ways is a solvable task. For me, the question of imitation is not a problem, if only it comes to finding my own style.

It seems to me that a document widely known in the literature on the history of art and aesthetics as Raphael’s message to Count Baldassare Castiglione is of considerable interest. It is certain that it was written on behalf of Raphael, addressed to Castiglione as a response to an unsurvived letter, which was devoted to a discussion of the artistic merits of the fresco "The Triumph of Galatea", created by Raphael in 1513. It dates from 1514, since in April of this year Raphael was appointed chief architect of St. Peter, as mentioned in the letter." Of course, I cannot talk about what seems to me the most realistic in the versions themselves put forward by scientists - whether the artist himself wrote it, whether Castiglione addressed this document to himself on behalf of Raphael, whether Pico compiled this document... One way or another, the similarity of the views of these people on a number of issues is obvious after the analysis of scientists (in this case I’m talking about the work of O.F. Kudryavtsev). For me, the text of the message itself is very important, which I will quote in full:

“And I will tell you that in order to paint a beauty, I need to see a lot of beauties; provided that Your Excellency will be with me to make the best choice. But in view of the shortage of both good judges and beautiful women, I use some idea that comes to my mind. I don’t know whether she has any perfection of art in herself, but I try very hard to achieve it.”

Added to this is:

“I would like to find beautiful forms of ancient buildings, but I don’t know if it would be the flight of Icarus. Although Vitruvius sheds a lot of light on this for me, it is not so much that it is enough.”

Why does writing seem so important and interesting to me? Because it contains views that I find consonant with my own. And although the authorship of the document is not indisputable, it reflects creative method Raphael, who is known to everyone not so much (and not only) theoretically. Of course, the letter also reflects the artist’s aesthetic quest. This reflects the positions inherent in humanism - imitation as competition with the ancients and perception as development ancient traditions.

Now I would like to mention the connection between Raphael and sculpture, despite the fact that researchers note the paucity of works on Raphael the sculptor. After reading the article by M.Ya. Libman “Raphael and Sculpture”, I drew my conclusions. My knowledge does not allow me to comment in any way on the ensemble of the Chigi Chapel in the Roman church of Santa Maria del Popolo, where the artist “acts as a co-author and inspirer of the sculptor” Lorenzetto. But we cannot ignore the works, which, according to Shearman, “have never received the attention they deserve.” Shearman notes the picturesque nature of the statues. Lorenzetto’s statues of Jonah and Elijah “were clearly designed to be placed in niches specific to the altar and entrance.” From the materials of the article it follows that Raphael was looking for a marble maker to work in the Chigi Chapel. "Lorenzetto was mediocre a sculptor. One might not even remember him if he had not embodied Raphael’s sculptural ideas in the material.” One might say, he was lucky enough to convey Raphael’s views on plastic art. Thanks to these works we can see a clear picture of Raphael's work. Liebman notes that Raphael was very interested in sculpture, because a number of his works feature images of statues and reliefs that do not exist in reality. The article addresses the question of who was ideological inspirer to create statues - Raphael himself or Lorenzetto (it is known that the statue of Elijah was completed after the artist’s death). The questions of the influence of Raphael's work on the sculptors of that time (Andrea and Jacopo Sansovino) are raised. For me, the main thing is that the statues exist and, thanks to this, one can imagine Raphael the sculptor. The fact of the presence in the creative circles of Michelangelo, a plastic genius who could not help but overshadow even Raphael, seems completely natural. This explains, if not everything, then a lot. In general, it is strange to talk about who is more significant in painting and sculpture... I consider the correct conclusion to be the one given in Libman’s article: “If in Raphael’s workshop there were more sculptors besides Lorenzetto, perhaps then a school of sculptors would have been formed - Raphaeleskov." Despite the versatility of his talent, Raphael (I think that this is not the only one that can be said about him) simply did not have time to use every facet of his talent equally. Especially considering the sad fact that the artist lived so little (Raphael died at 37 years old, in April 1520, from a fever, which in no way indicates the true cause of illness and death), he managed to do a lot.

Raphael's achievements include the influence of his work on the development of many types of applied art. “This was especially clearly and directly manifested in trellis weaving, and although a number of Italian artists already before Raphael, he took part in the creation of cardboards for wall carpets; it was Raphael’s cardboards that were destined to define further development this most important branch of applied art" (N.Yu. Biryukova "Raphael and the development of trellis weaving in Western Europe").

This art form was flourishing in France and Flanders. As Biryukova notes, “the composition of the trellises... was still within the framework of traditions medieval art. ... Perspective construction was almost absent, flatly interpreted figures filled the entire space of the wall carpet, the coloring was distinguished by great laconicism, since the color range usually did not exceed two dozen tones. The departure from these compositional principles was due to the appearance of a series of cardboards for tapestries on the plot of “The Acts of the Apostles,” commissioned by Raphael by Pope Leo X in 1513 and completed at the end of 1516. Tapestries made from these cardboards were intended to decorate the lower part of the walls of the Sistine Chapel " This series included ten tapestries. Rafael introduced volumetric figures, located not on the entire plane of the carpet, but placed against the backdrop of landscapes with space. The style of the tapestries is monumental, the characters' clothes are tunics (at times, the characters are half naked). “On Flemish trellises of the 15th century. the most sublime plots were overgrown with many everyday details. ... the figures ... were depicted in magnificent costumes of their time, equipped with many details” (Biryukova). The cardboards created by Raphael “directed... along a different... path the development of the compositional and stylistic features of the woven wall carpet” (Biryukova). Of course, Raphael had his influence not only on the compositional characteristics of the carpets, but also on the framing - borders. The master introduced grotesque motifs into the vertical carpet borders, which alternated with allegorical figures. “Very soon the border of stylized flowers, characteristic of the tapestries of the first two decades of the 16th century, was replaced by a border composed of grotesque motifs and allegorical figures” (Biryukova). It follows from the article that Raphael’s cardboards brought trellis weaving closer to painting. Thus, applied art is no longer just a craft, but a high art. Agree, when cardboards for carpets are painted by Raphael, Rubens, Keck Van Aelst, Vermeen, it is difficult to underestimate such works. This is also evidenced by the works of ceramists - artists who moved from ornamental painting of individual figures of people and animals to multi-figure narrative paintings. The Renaissance style clearly emerged in the painting of Italian majolicas. In the article by O.E. Mikhailova “The use of compositions of works by Raphael and his school in the painting of Italian majolica” indicates that after 1525 “Raphael and his school took over the artistic imagination of ceramists.” The names of masters are mentioned, such as Marcantonio Raimondi, Agostino Veneziano, Marco da Ravenna... Mikhailova, in the article, notes that the reproduction of engraved sheets in majolica painting was not always possible exactly. Many ceramists worked based on Raphael’s composition, and here we can add only one thing: “Not a single artist of the Renaissance, or even of a later time, could pass by the works of this genius. And master ceramists, using Italian printed graphics that reproduced drawings, paintings and frescoes by Raphael, not only raised Italian majolica to an unprecedentedly high artistic level, but also clearly reflected the Renaissance and the spirit of their time in this type of applied art.”

Conclusion

You can't tell everything about Rafael. It seems strange to me that the authors of works about the artist’s life and work are so, in my opinion, unanimous in their assessments of his life path: “Raphael was a happy artist,” “Raphael’s bright genius was not inclined to psychological depth,” “In Rome, Raphael found strong and powerful patrons.” In a word, reading these excerpts from articles, I get a strange feeling that scientists themselves often contradict themselves. Will explain. In the article by V.D. Dazhina “Raphael and His Circle” I read: “Outwardly sociable and open, Raphael was rarely frank and spiritually close to anyone. He had a wide circle of acquaintances, but few real friends.” Doesn't this mean that drawing any conclusions about the artist and his life is a manifestation of imprudence? Can there be MANY true friends? Communicating with the learned humanists of the Renaissance, was Raphael himself so easily predictable to outsiders? As A. Varshavsky writes: “...Raphael, undoubtedly, was a widely educated man, a man who thought deeply and powerfully. And if one had to name the most important, defining, most important feature of a great painter, one should probably say this: an amazing ability to generalize, an amazing ability and ability to display these generalizations in the language of art.” This statement can be attributed both to Raphael the creator and, which is also true, to Raphael the personality. “Despite his outward fragility, he was very courageous man, Rafael. It should not be forgotten that in the year of his transfer to Rome he was barely twenty-five years old. Once he has made a decision, he will not deviate from his chosen path, and one is simply amazed at how quickly his genius grows stronger” (Varshavsky). During his stay in Rome, he accomplished so much! “...partially painted Vatican stanzas, supervised painting works in the Villa Farnesina and the Vatican Loggias, created cardboards for carpets ordered by Leo X, carried out numerous orders from private individuals and religious communities...” (Dazhina). He was involved in the protection and census of ancient Roman monuments. Thanks to his efficiency and talent, Raphael provoked the unification of a group of talented artists under a common direction. Naturally, he didn’t do this on purpose—did the busy master have time for self-aggrandizement? And his workshop has grown enormously, because touching knowledge and talent is so natural! Such associations, according to researchers, did not arise again. Communication with Raphael shaped other talents and revealed them. The death of the artist did not have the best effect on the work of some of his students. Of course, I am only talking about a few, because Francesco Penni (Fattore) retained in his art the poetry and grace characteristic of Raphael. Giovanni da Udine adopted and developed not only the thought of Raphael, but also carried through his creative life the gift of painting ornaments and graceful grotesques. According to scientists, he carried his love for Raphael throughout his life and was even buried next to him, in the Pantheon. There are many such examples. “Humanistic education, versatility of creative interests, passion for ancient architecture and archeology brought Raphael and Peruzzi together. What was common was their participation in the decoration of holidays and theatrical performances” (Dazhina).

Perhaps I failed to understand something important about Raphael, but reading something like this: “Vasari also contributed to this opposition (Raphael - Michelangelo) by seeing Michelangelo’s failures with the tomb of Julius II and his removal from Rome during the time of Leo X as a consequence intrigues of the circle of Bramante and Raphael,” the question does not leave me: is this known reliably? In general, is the juxtaposition of two colossal creators of that time possible? I am also saddened by such a classification as “Titian - received the title of count; Raphael is the papal confidant.” And in addition to this classification: “With his lifestyle, social behavior and the nature of his creativity, Raphael embodied the features of a new social type of artist - an organizer, a leader of large paintings, leading the lifestyle of a courtier, possessing a social gloss, the ability to maneuver and adapt to the tastes of the customer. True, in the time of Raphael all these qualities were just taking shape...” (Dazhina). And this can be considered a kind of assessment? How then should one react to the phrase: “The new pope had a consumerist attitude towards Raphael’s talent, disproportionately loading the artist with all kinds of works... Such a chaotic waste of energy led to gradual devastation, creative passivity, gave rise to a certain detachment of the artist from his creations, that chill that testified to the crisis Raphael's style in the late 1510s. Only in portraits did the artist still feel free and create regardless of anyone’s whims” (Dazhina). It seems to me correct that such dependence was inevitable for Raphael, because the circumstances / conditions of his life, namely his life, forced him to live at court and work not only independently, but also under orders. Researchers write that the artist did not like the papal court because of intrigue, hypocrisy, and envy. He was a good friend of the papal jester, the witty Fra Mariano, and the enlightened Cardinal Sanseverino. Agree, at the court the concentration of educated and enlightened people at that time could have been higher and therefore Raphael was forced to “accommodate” some for the sake of communicating with others. Without knowledge and knowledgeable people, not only artists (and not so much), it is very difficult to come to what is so valuable in Raphael - the ability to objectively generalize. No one can guarantee that, far from the papal court, Raphael’s genius would have reached the heights to which his creations take us.

Probably in conclusion I should write about the impressions that the artist’s works made on me. I wanted to call for the reasonable use of any information about a particular person or event. It must be remembered that many people, having heard, anywhere, incorrect information about someone/something, may never know the truth and sometimes talk about the subject unfairly and cruelly.

“The work of Raphael Santi belongs to those phenomena of European culture that are not only covered with world fame, but have also acquired special significance - the highest landmarks in the spiritual life of mankind. For five centuries, his art has been perceived as one of the examples of aesthetic perfection" (Editorial Board of the collection "Raphael and His Time").

List of used literature

1. Raphael and his time. Rep. editor L.S. Cicolini. M.: Nauka, 1986.

2. The fate of masterpieces. A. Varshavsky. M.: 1984.

Raphael is an artist who had a monumental influence on the way art developed. Raphael Santi is deservedly considered one of the three great masters of the Italian High Renaissance.

Introduction

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

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

Brief biography of Rafael Santi

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

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

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

Works of Raphael

The compositions created by the artist are famous for their grace, harmony, smooth lines and perfection of forms, which can only be rivaled by the paintings of Leonardo and the works of Michelangelo. It is not for nothing that these great masters make up the “unattainable trinity” of the High Renaissance.

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

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

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

Florentine period

From 1504 to 1508, Raphael led a nomadic life. He never stayed in Florence for a long time, but despite this, four years of Raphael’s life, and especially his work, are usually called the Florentine period. Much more developed and dynamic, the art of Florence had a profound influence on the young artist.

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

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

Roman period

In 1508, Raphael came to Rome and lived there until the end of his days. His friendship with Donato Bramante, the chief architect of the Vatican, ensured that he received a warm welcome at the court of Pope Julius II. Almost immediately after the move, Rafael began large-scale work over the frescoes for Stanza della Segnatura. The compositions decorating the walls of the papal office are still considered the ideal of monumental painting. The frescoes, among which “The School of Athens” and “The Controversy over Communion” occupy a special place, provided Raphael with well-deserved recognition and an endless stream of orders.

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

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

Madonnas by Raphael

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

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

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

Stanzas of Raphael

The monumental paintings that adorn the walls of the Papal Palace (and now the Vatican Museum) are considered Raphael's greatest works. It's hard to believe that the artist completed work on Stanza della Segnatura in three and a half years. The frescoes, including the magnificent “School of Athens,” are painted in extremely detailed and high quality. Judging by the drawings and preparatory sketches, working on them was an incredibly labor-intensive process, which once again testifies to Raphael’s hard work and artistic talent.

Four frescoes from the Stanza della Segnatura depict the four spheres of human spiritual life: philosophy, theology, poetry and justice - the compositions “The School of Athens”, “The Controversy over Communion”, “Parnassus” and “Wisdom, Moderation and Strength” (“Secular Virtues”) .

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

Rafael Santi: portraits

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

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

Another influential portrait by Raphael is the Portrait of Baldassare Castiglione, which was copied by Rubens and Rembrandt in their time.

Architecture

Raphael's architectural style was predictably influenced by Bramante, which is why Raphael's short period as chief architect of the Vatican and one of the most influential architects in Rome was so important in preserving the stylistic unity of the buildings.

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

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

Graphic works

The painting of Rafael Santi is not the only type of fine art in which the artist achieved perfection. Just recently, one of his drawings (Head of a Young Prophet) was sold at auction for £29 million, becoming the most expensive drawing throughout the history of art.

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

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

Artistic heritage

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

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

Raphael (actually Raphael Santi), one of the greatest painters of modern times, was born on April 6, 1483 in Urbino. First art education received from his father, the painter Giovanni Santi, and after his death in 1494 continued with the Umbrian painter P. Perugino. The first paintings of Raphael date back to the time of his stay with Perugino. All of them have the general character of the 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, his second period begins artistic activity. 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 consciousness 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 mostly done by Giulio Romano.

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

Painting by Raphael in the Vatican Loggias

Without finishing the dance yet, Raphael had to start 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 you compare this Bible with biblical paintings Michelangelo in the Sistine Chapel, then the whole contrast clearly appears between the gloomy tragedian and lyricist Michelangelo and the calm epic Raphael, who gives preference to the gratifying, the idyll, and grace.

Tapestries for the Sistine Chapel

Raphael's third extensive work in Rome was cardboards with scenes from the Acts of the Apostles for 10 tapestries in the Sistine Chapel, commissioned by Pope Leo X. In them, Raphael is one of the greatest masters of 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, which, among other things, were created by him during this Roman period; 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 of the face of the Sistine Madonna. The rumor that the cause of Raphael's early death was an immoral life appeared later and is 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, his inexhaustible creative fantasy an artist 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 much perfect images, in which it can manifest itself. Another distinctive feature of Raphael’s work is the 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 concept, 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 artist of the Renaissance, having absorbed almost all movements, did not submit to them in its creative power, but created its 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 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(Italian: Raffaello Santi, Raffaello Sanzio, Rafael, Raffael da Urbino, Rafaelo; March 26 or 28, or April 6, 1483, Urbino - April 6, 1520, Rome) - a great Italian painter, graphic artist and architect, representative of the Umbrian school.

Creative biography

Urbino. Childhood and youth

Rafael lost his parents early. His mother, Margie Charla, died in 1491, and his father, Giovanni Santi, died in 1494. His father was an artist and poet at the court of the Duke of Urbino, and Raphael received his first experience as an artist in his father's workshop. The earliest work is the Madonna and Child fresco, which is still in the house museum.

Among the first works are the Banner with the Image of the Holy Trinity (circa 1499-1500) and the altar image The Coronation of St. Nicholas of Tolentino" (1500-1501) for the church of Sant'Agostino in Città di Castello.

Education

In 1501, Raphael came to the workshop of Pietro Perugino in Perugia, so the early works were made in the style of Perugino.

At this time, he often leaves Perugia for his home in Urbino, in Città di Castello, visits Siena together with Pinturicchio, and carries out a number of works on orders from Città di Castello and Perugia.

In 1502, the first Raphael Madonna appeared - “Madonna Solly”; Raphael would write Madonnas all his life.

The first paintings not painted on religious themes were “The Knight’s Dream” and “The Three Graces” (both around 1504).

Gradually, Raphael developed his own style and created his first masterpieces - “The Betrothal of the Virgin Mary to Joseph” (1504), “The Coronation of Mary” (circa 1504) for the Oddi altar.

In addition to large altar paintings, he painted small paintings: “Madonna Conestabile” (1502-1504), “St. George Slaying the Dragon” (circa 1504-1505) and portraits - “Portrait of Pietro Bembo” (1504-1506).

In 1504, in Urbino, he met Baldassar Castiglione.

Florentine period. Madonnas

At the end of 1504 he moved to Florence. Here he meets Leonardo da Vinci, Michelangelo, Bartolomeo della Porta and many other Florentine masters. Carefully studies the painting techniques of Leonardo da Vinci and Michelangelo. A drawing by Raphael from the lost painting by Leonardo da Vinci “Leda and the Swan” and a drawing from “St. Matthew" Michelangelo. “...the techniques that he saw in the works of Leonardo and Michelangelo forced him to work even harder in order to extract from them unprecedented benefits for his art and his manner.”

The first order in Florence comes from Agnolo Doni for portraits of him and his wife, the latter painted by Raphael under the obvious impression of La Gioconda. It was for Agnolo Doni that Michelangelo Buonarroti created the tondo “Madonna Doni” at this time.

Raphael paints altar paintings “Madonna Enthroned with John the Baptist and Nicholas of Bari” (circa 1505), “Entombment” (1507) and portraits - “Lady with a Unicorn” (circa 1506-1507).

In 1507 he met Bramante.

Raphael's popularity is constantly growing, he receives many orders for images of saints - “The Holy Family with St. Elizabeth and John the Baptist" (circa 1506-1507). " Holy Family(Madonna with a beardless Joseph)" (1505-1507), "St. Catherine of Alexandria" (circa 1507-1508).

Florentine Madonnas

In Florence, Raphael created about 20 Madonnas. Although the plots are standard: the Madonna either holds the Child in her arms, or he plays next to John the Baptist, all Madonnas are individual and are distinguished by their special maternal charm (apparently, the early death of his mother left a deep mark on Raphael’s soul).

Raphael's growing fame led to an increase in orders for Madonnas; he created the “Madonna of Granduca” (1505), “Madonna of the Carnations” (circa 1506), and “Madonna under the Canopy” (1506-1508). The best works of this period include “Madonna Terranuova” (1504-1505), “Madonna with the Goldfinch” (1506), “Madonna and Child and John the Baptist (The Beautiful Gardener)” (1507-1508).

Vatican

In the second half of 1508, Raphael moved to Rome (where he would spend the rest of his life) and became, with the assistance of Bramante, official artist papal court. He was commissioned to fresco the Stanza della Segnatura. For this stanza, Raphael painted frescoes reflecting four types of human intellectual activity: theology, jurisprudence, poetry and philosophy - “Disputa” (1508-1509), “Wisdom, Temperance and Strength” (1511), and the most outstanding “Parnassus” (1509 -1510) and the “School of Athens” (1510-1511).

Parnassus depicts Apollo with nine muses, surrounded by eighteen famous ancient Greek, Roman and Italian poets. “So, on the wall facing the Belvedere, where Parnassus and the spring of Helicon are, he painted on the top and slopes of the mountain a shady grove of laurel trees, in the greenery of which one can feel the trembling of the leaves, swaying under the gentlest breath of the winds, while in the air there is an endless many naked cupids, with the most charming expression on their faces, pluck laurel branches, braiding them into wreaths, which they scatter throughout the hill, where everything is fanned with a truly divine breath - both the beauty of the figures and the nobility of the painting itself, looking at which anyone who looks attentively at it considers, it’s amazing how human genius, with all the imperfections of simple paint, could achieve such that, thanks to the perfection of the drawing, the pictorial image seemed alive.”

“The School of Athens” is a brilliantly executed multi-figure (about 50 characters) composition, which presents ancient philosophers, many of whom Raphael gave the features of his contemporaries, for example, Plato is painted in the image of Leonardo da Vinci, Heraclitus in the image of Michelangelo, and standing at the right edge Ptolemy is very similar to the author of the fresco. “It represents the sages of the whole world, arguing with each other in every way... Among them there is Diogenes with his bowl, reclining on the steps, a figure very deliberate in its detachment and worthy of praise for its beauty and for the clothes so suitable for it... Beauty and the above-mentioned astrologers and geometers, who draw all sorts of figures and signs with compasses on tablets, is truly inexpressible.”

Pope Julius II really liked Raphael's work, even when it was not yet finished, and the pope commissioned the painter to paint three more stanzas, and the artists who had already begun painting there, including Perugino and Signorelli, were removed from the work. Considering the huge amount of work ahead, Raphael recruited students who, based on his sketches, completed most of the order; the fourth stanza of Constantine was completely painted by the students.

In the Eliodoro stanza, “The Expulsion of Eliodorus from the Temple” (1511-1512), “Mass in Bolsena” (1512), “Attila under the Walls of Rome” (1513-1514) were created, but the most successful was the fresco “The Liberation of the Apostle Peter from Prison” (1513-1514). “The artist showed no less skill and talent in the scene where St. Peter, freed from his chains, leaves prison accompanied by an angel... And since this story is depicted by Raphael above the window, the entire wall appears darker, since the light blinds the viewer looking at the fresco. The natural light falling from the window so successfully competes with the depicted night light sources that it seems as if you really see against the background of the night darkness both the smoking flame of a torch and the radiance of an angel, conveyed so naturally and so truthfully that you would never say that this is just painting - such is the convincingness with which the artist embodied the most difficult idea. Indeed, on the armor one can discern one’s own and falling shadows, and reflections, and the smoky heat of the flame, standing out against the background of such a deep shadow that one can truly consider Raphael the teacher of all other artists, who achieved such a similarity in the depiction of the night that painting had never achieved before ."

Leo X, who succeeded Julius II in 1513, also held Raphael in high esteem.

In 1513-1516, Raphael, commissioned by the pope, was engaged in the production of cardboards with scenes from the Bible for ten tapestries, which were intended for the Sistine Chapel. The most successful cardboard is “Wonderful Catch” (in total, seven cardboards have survived to this day).

Another order from the pope was loggias overlooking the inner Vatican courtyard. According to Raphael's design, they were erected in 1513-1518 in the form of 13 arcades, in which 52 frescoes on biblical subjects were painted by students according to Raphael's sketches.

In 1514, Bramante died, and Raphael became the chief architect of St. Peter's Cathedral, which was under construction at that time. In 1515, he received the position of chief custodian of antiquities.

In 1515, Dürer came to Rome and inspected the stanzas. Raphael gives him his drawing, in response the German artist sent Raphael his self-portrait, the further fate of which is unknown.

Altar painting

Despite being busy with work in the Vatican, Raphael fulfills orders from churches to create altar images: “Saint Cecilia” (1514-1515), “Carrying the Cross” (1516-1517), “Vision of Ezekiel” (circa 1518).

The master's last masterpiece is the majestic "Transfiguration" (1516-1520), a painting in which Baroque features are visible. In the upper part, Raphael, in accordance with the Gospel on Mount Tabor, depicts the miracle of the transfiguration of Christ before Peter, James and John. The lower part of the painting with the apostles and the demon-possessed youth was completed by Giulio Romano based on Raphael's sketches.

Roman Madonnas

In Rome, Raphael painted about ten Madonnas. The Madonna of Alba (1510), Madonna of Foligno (1512), Madonna of the Fish (1512-1514), and Madonna in the Armchair (circa 1513-1514) stand out for their majesty.

Raphael's most perfect creation was the famous “Sistine Madonna” (1512-1513). This painting was commissioned by Julius II for the altar of the church of the monastery of St. Sixtus in Piacenza. “The Sistine Madonna is truly symphonic. The interweaving and meeting of lines and masses of this canvas amazes with its internal rhythm and harmony. But the most phenomenal thing in this large canvas is the painter’s mysterious ability to bring all the lines, all the shapes, all the colors into such a wondrous correspondence that they serve only one, the artist’s main desire - to make us look, look tirelessly into the sad eyes of Mary.”

Portraits

In addition to a large number of paintings on religious themes, Raphael also creates portraits. In 1512, Raphael painted "Portrait of Pope Julius II." “At the same time, already enjoying the greatest fame, he painted an oil portrait of Pope Julius, so alive and similar that at the very sight of the portrait people trembled, as if they were seeing a living pope.” According to the orders of the papal entourage, “Portrait of Cardinal Alessandro Farnese” (circa 1512) and “Portrait of Leo X with Cardinals Giulio Medici and Luigi Rossi” (circa 1517-1518) were painted.

The portrait of Baldassare Castiglione (1514-1515) especially stands out. Many years later, Rubens would copy this portrait, Rembrandt would first sketch it, and then, inspired by this painting, create his “Self-Portrait.” Taking a break from work in the stanzas, Raphael painted “Portrait of Bindo Altoviti” (circa 1515).

The last time Raphael depicted himself was in “Self-Portrait with a Friend” (1518-1520), although it is unknown which friend in the picture Raphael put his hand on the shoulder; researchers have put forward many unconvincing versions.

Villa Farnesina

Banker and patron of the arts Agostino Chigi built a country villa on the banks of the Tiber and invited Raphael to decorate it with frescoes depicting scenes from ancient mythology. So in 1511 the fresco “The Triumph of Galatea” appeared. “Raphael depicted prophets and sibyls in this fresco. This is rightfully considered his best work, the most beautiful among so many beautiful ones. Indeed, the women and children depicted there are distinguished by their exceptional vitality and the perfection of their coloring. This piece brought him wide recognition both during his life and after his death.”

The rest of the frescoes, based on Raphael's sketches, were painted by his students. An outstanding sketch of “The Wedding of Alexander the Great and Roxana” (circa 1517) has survived (the fresco itself was painted by Sodoma).

Architecture

“The work of Raphael the architect is of exceptional importance, representing a connecting link between the works of Bramante and Palladio. After Bramante's death, Raphael took over as chief architect of the Cathedral of St. Peter (having drawn up a new basilica plan) and completed the construction of the Vatican courtyard with Loggias begun by Bramante. In Rome, he built the round church of Sant'Eligio degli Orefici (from 1509) and the elegant Chigi Chapel of the church of Santa Maria del Popolo (1512-1520). Raphael also built the palazzo: Vidoni-Caffarelli (from 1515) with double semi-columns of the 2nd floor on the rusticated 1st floor (built on), Branconio del Aquila (finished in 1520, not preserved) with the richest plastic facade (both in Rome) , Pandolfini in Florence (built from 1520 according to the design of Raphael by the architect G. da Sangallo), distinguished by its noble restraint of forms and intimacy of interiors. In these works, Raphael invariably connected the design and relief of the facade decoration with the features of the site and neighboring buildings, the size and purpose of the building, trying to give each palace the most elegant and individualized appearance possible. The most interesting, but only partially realized architectural plan of Raphael, is the Roman Villa Madama (from 1517 the construction was continued by A. da Sangallo the Younger, not completed), organically connected with the surrounding courtyards-gardens and a huge terraced park.”

Drawings and engravings

About 400 drawings by Raphael have survived. Among them there are preparatory drawings and sketches for paintings, as well as independent works.

Raphael himself did not make engravings. However, Marcantonio Raimondi created a large number of engravings based on Raphael’s drawings, thanks to which several images of lost paintings by Raphael have come down to us. The artist himself handed over the drawings to Marcantonio to reproduce them in engraving. Marcantonio did not copy them, but created new works of art based on them; he did this even after the death of Raphael.

The engraving "The Judgment of Paris" will inspire Manet's famous "Luncheon on the Grass".

Poetry

Like many artists of his time, such as Michelangelo, Raphael wrote poetry. His drawings, accompanied by sonnets, have survived. Below, translated by A. Makhov, is a sonnet dedicated to one of the painter’s lovers.

Cupid, stop the blinding light

Two wondrous eyes sent by you.

They promise either cold or summer heat,

But there is not a small drop of compassion in them.

I barely knew their charm,

How I lost my freedom and peace.

Neither the wind from the mountains nor the surf

They will not cope with the fire as a punishment for me.

Ready to bear your oppression without complaint

And live as a slave, chained,

And losing them is tantamount to death.

Anyone will understand my suffering,

Who was unable to control passions

And he became a victim of the whirlwind of love.

Death

Vasari wrote that Raphael died “after spending time even more dissolute than usual,” but modern researchers believe that the cause of death was Roman fever, which the painter contracted while visiting an excavation site. Raphael died in Rome on April 6, 1520 at the age of 37 years. He was buried in the Pantheon. On his tomb there is an epitaph: “Here lies the great Raphael, during whose life nature was afraid to be defeated, and after his death she was afraid to die” (Latin: Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori).

Students

Raphael had numerous students, although none of them grew into outstanding artists. The most talented was Giulio Romano. After Raphael's death, he created a series of pornographic drawings, which caused a scandal due to which he was forced to move to Mantua. His works, made in the style of the teacher, and sometimes based on his sketches, were not appreciated by his contemporaries. Giovanni Nanni returned to Udine, where he created a series good paintings. Francesco Penni moved to Naples, but died young. Perin del Vaga became an artist, working in Florence and Genoa.

The most expensive drawing

On December 5, 2012, Raphael’s drawing “Head of the Young Apostle” (1519-1520) for the painting “Transfiguration” was sold at Sotheby’s auction. The price was £29,721,250, double the starting price. This is a record amount for graphic works.

Image in cinema

• 2017 - Rafael. Prince of Art / Raffaello: Il Principe delle Arti (dir. Luca Viotto / Luca Viotto) - documentary-fiction, in the role of Rafael Santi - Flavio Parenti / Flavio Parenti, in the role of Giovanni Manti - Enrico Lo Verso / Enrico Lo Verso