Rafael Santi transformation brief description. Transfiguration of the Lord in art

Raphael Santi-Transfiguration Christ's, 1519-1520. Pinacoteca Vatican, Rome.

The painting was originally created as an altar image cathedral in Narbonne, commissioned by Cardinal Giulio de' Medici, Bishop of Narbonne. To the greatest extent, the contradictions of the last years of Raphael’s work were reflected in the huge altar composition “The Transfiguration of Christ” - it was completed after Raphael’s death by Giulio Romano.

Having started working on the painting, the artist simultaneously painted a canvas for the cardinal personally. For his painting, the artist used the well-known biblical story described in the gospels, which tells that Christ decided to show his disciples his true appearance. As the scriptures say, Jesus took with him the three apostles Peter, James and James, and led them to high mountain, where he was transformed before them, appearing in a bright image, surrounded by a divine aura. After this, the voice of God was heard, who confirmed to the apostles that Jesus was his true and only son.

Descending from the mountain, the apostles and Jesus meet a crowd of people who accompany a father and his son, possessed by the devil, to turn to Christ with a request for his cure.

And here begins the plot of Raphael’s painting, which tells about this moment.
In the foreground are the apostles, who recline in various positions awaiting the descent of Christ. Jesus himself floats in a circle of light above the rest of the people, he is weightless and beautiful. People stretch out their hands to him, and the old man and the boy froze in anticipation of healing. The artist also depicted a kneeling woman who, together with everyone else, is waiting for a miracle. All these people point to Christ, their faces full of trembling excitement. He comes and heals the child, driving away the evil spirit.

This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was done by Raphael himself. Below are depicted the apostles trying to heal a possessed boy - there is a lot of artificial pathos here, an unpleasant blackness has appeared in the painting. It's symptomatic of what exactly altar painting Raphael Santi's "Transfiguration of Christ" became an indisputable model for academic painters for centuries.

History of the painting.

Traditionally, artists depicted Christ standing on a mountain (more often just on a hill) between Moses and Elijah, while the apostles reclined at His feet, covering their eyes from bright light. Raphael chooses a different compositional move for his painting.

On it the Savior is depicted floating in the air, as during the Ascension. The radiance enveloping his figure - that very “light cloud” - illuminates the rest of the characters. The lower part of the picture, according to iconographic tradition, represents the episode that immediately followed the descent of Christ from the mountain: Raphael depicts the miracle of healing of a boy with epilepsy.

Fear, confusion, surprise, vanity in this part of the picture contrast with the majestic calm emanating from the figure of Christ. The variety of poses and gestures expresses the different feelings of the characters and emphasizes the individuality of each of them. The expressiveness of the figures is emphasized by the light falling from the left. Perhaps this is a technique not previously found in his painting; Raphael invented it while working on theatrical scenery. Later, this special method of lighting was borrowed from Raphael by Caravaggio (1573-1610).

A VERY INTERESTING STORY ABOUT THE COMBINATION OF TWO PAINTINGS BY RAFAEL. (Int. version)

Painting by Raphael Care.

Before you are two almost identical paintings, the author of which is the great Italian artist Rafael Sancho(Raphael Sanzio/Santi)... It seems that someone deliberately “moved” the second picture down in order to cut off the top with a “dangerous” object - a beautifully depicted “flying saucer”... Which in reality was absolutely true.

Rafael was very an unusual person, often going against holy church. As the famous Vassari called him in his works, he was “an atheist with a rich imagination”... The first picture (on the left) was painted in Last year life of the artist (1520) and was called “Leaving”.

Having caused a real storm of indignation on the part of the Holy Church, magnificent work received a sentence of destruction. Then, deciding to play a harmless joke on the Pope, the artist painted a second picture, as if moving the entire composition down, and cutting off the upper (main) part of the picture, which depicted Christ, which, according to the strict canons of painting of that time, was in no way allowed.

He called the second painting “Transfiguration”... Unfortunately, the artist died without finishing the second painting - it was completed by his best students and (at the request of the teacher) presented to the Vatican. Dad was delighted with the work and called it “one of the best” paintings by Raphael...

You can see both versions of the picture here. http://maxpark.com/community/6782/content/5165598

Raphael Santi - Transfiguration of Christ 1519-1520. Pinacoteca Vatican, Rome.

The painting was originally created as an altarpiece for the Cathedral of Narbonne, commissioned by Cardinal Giulio Medici, Bishop of Narbonne. The contradictions of the last years of Raphael’s work were most reflected in the huge altar composition “The Transfiguration of Christ” - it was completed after Raphael’s death by Giulio Romano.
Having started working on the painting, the artist simultaneously painted a canvas for the cardinal personally. For his painting, the artist used a well-known biblical story described in the gospels, which tells that Christ decided to show his disciples his true appearance. As the scriptures say, Jesus took with him the three apostles Peter, James and Jacob, and led them to a high mountain, where he was transformed before them, appearing in a bright image, surrounded by a divine aura. After this, the voice of God was heard, who confirmed to the apostles that Jesus was his true and only son.
Descending from the mountain, the apostles and Jesus meet a crowd of people who accompany a father and his son, possessed by the devil, to turn to Christ with a request for his cure.

This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was done by Raphael himself. Below are depicted the apostles trying to heal a possessed boy - there is a lot of artificial pathos here, an unpleasant blackness has appeared in the painting. It is symptomatic that it was Raphael Santi’s altar painting “The Transfiguration of Christ” that became an indisputable model for academic painters for centuries.

History of the painting.

In 1797, Napoleon transported the Transfiguration to France, and the painting returned to the Vatican only after the overthrow of the emperor in 1815. As a result of transportation, it was severely damaged, and the first restoration only worsened its condition. The next restoration, carried out in the seventies of the 20th century, brought the painting as close as possible to the one it had four centuries ago.
Traditionally, artists depicted Christ standing on a mountain (more often just on a hill) between Moses and Elijah, while the apostles reclined at His feet, shielding their eyes from the bright light. Raphael chooses a different compositional move for his painting.

On it the Savior is depicted floating in the air, as during the Ascension. The radiance enveloping his figure—that very “light cloud”—illuminates the rest of the characters. The lower part of the picture, according to the iconographic tradition, represents the episode that immediately followed the descent of Christ from the mountain: Raphael depicts the miracle of healing of a boy with epilepsy.
Fear, confusion, surprise, vanity in this part of the picture contrast with the majestic calm emanating from the figure of Christ. The variety of poses and gestures expresses the different feelings of the characters and emphasizes the individuality of each of them. The expressiveness of the figures is emphasized by the light falling from the left. Perhaps this is a technique not previously found in his painting; Raphael invented it while working on theatrical scenery. Later, this special method of lighting was borrowed from Raphael by Caravaggio (1573-1610).

A VERY INTERESTING STORY ABOUT THE COMBINATION OF TWO PAINTINGS BY RAFAEL. (Int. version)

Painting by Raphael Care.

Here are two almost identical paintings, the author of which is the great Italian artist Rafael Sancho (Raphael Sanzio/Santi)... One gets the impression that someone deliberately “moved” the second picture down in order to cut off the top with a “dangerous” object - a superbly depicted “flying saucer”... Which in reality was absolutely true.

Raphael was a very unusual person, often going against the Holy Church. As the famous Vassari called him in his writings, he was “an atheist with a rich imagination”... The first painting (on the left) was painted in the last year of the artist’s life (1520) and was called “Departure”.

Having caused a real storm of indignation on the part of the Holy Church, the magnificent work was sentenced to destruction. Then, deciding to play a harmless joke on the Pope, the artist painted a second picture, as if moving the entire composition down, and cutting off the upper (main) part of the picture, which depicted Christ, which, according to the strict canons of painting of that time, was in no way allowed. He called the second painting “Transfiguration” (Transfiguration)... Unfortunately, the artist died without finishing the second painting - it was completed by his best students and (at the request of the teacher) presented to the Vatican. Dad was delighted with the work and called it “one of the best” paintings by Raphael...

(Further, you can argue, but not a single picture depicting a UFO has such detail; all UFOs are drawn rather primitively, because both now and before they were not particularly shown to people).
Biblical sources and legends contain numerous information about the appearance on our planet of gods, prophets, “sons of God”, who had a significant influence on cultural development and the religious worldview of many peoples. As for the famous Scrolls of the Dead seas (so secret that only a few scientists were granted the right to see them). Professor Felix Bonjean and five other scholars who studied the Dead Sea Scrolls under Vatican supervision were under an obligation never to disclose information obtained from the ancient texts, but Bonjean was the first to break his silence. At a press conference in Paris, he said: After many years of hesitation, I came to the conclusion that the truth cannot be hidden from people. Signs with shores of the Dead the seas are not just the Old Testament version. They contain historical predictions that could shake the world. After all, they contain information that: 25 thousand years ago a flotilla arrived on earth spaceships. They had the shape of disks and, judging by the lists, created an anti-gravity field around themselves. Earth's gravity had no effect on them.
The Qumran Scrolls contain the following interesting information:
Moses was not a Jew, an Egyptian, or a human being at all. He arrived on Earth as a messenger of higher beings from another planet...
It is probably no coincidence that he was often depicted with clearly visible “horns” on his head. It is noteworthy that in the ancient Greek work “Sophia” there is the following information about angels:
The angels [aliens] have projections where the sacred cloud rests.
the insignificant amount of information regarding UFOs and aliens at this time is explained by the dominance of the Inquisition: a witness of any mysterious phenomenon could be accused of having intercourse with the devil, and the narrator would inevitably face a fire. This can be confirmed by the fate of the Italian Giordano Bruno, who preached the idea of many inhabited worlds in the Universe and expressed rather seditious thoughts for that time:
Thus, I declared that there are infinite separate worlds like the Earth, which, like Pythagoras, I consider as a star, similar in nature to the Moon, other stars and other planets, which have no end, and that all these bodies represent infinite worlds, thus forming an invisible infinity in infinite space, and this is called infinite universe, worlds that are countless.
For these statements alone, on February 7, 1600, he was burned at the stake of the Inquisition.
Information about extraordinary phenomena and incidents of the 7th–8th centuries was collected by the English monk Bede, the Venerable. In his book " Church history» are given Interesting Facts, reminiscent of UFO flights.
The Laurissen Annals contain information about UFOs.
UFOs are described in the ancient Japanese chronicle “Nihongi”
One of the most detailed descriptions mysterious objects reminiscent of UFOs can be found in the book “Visions” by Abbess Hildegard of Bingen.
There is a description of unusual objects in the “History of England”, which was written by Mathieu of Paris.
This list can be continued endlessly.
So it is not surprising that UFOs were seen in abundance at that time and the pictures written about them are beyond doubt.

The Transfiguration, now in the Vatican Pinacoteca, was commissioned by Raphael in 1517 by Giulio de' Medici for the Cathedral of Narbonne.

Raphael began work on the Transfiguration in 1518. He painted the picture himself, without the help of numerous students. A sudden fever claimed the life of the great artist and, on the same day and month in which Raphael was born 37 years earlier, Rome mourned its favorite. The work was completed by him just before his death on April 6, 1520. The artist's body was exhibited in the Pantheon along with the newly completed painting (it was said that he painted the head of Christ just before his death). The lower part of the painting was completed by students and assistants - mainly Giulio Romano, who received payment for it in 1522.

This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was done by Raphael himself. Below are depicted the apostles trying to heal a possessed boy - there is a lot of artificial pathos here, blackness has appeared in the painting. It is symptomatic that it was Raphael Santi’s altar painting “The Transfiguration of Christ” that became an indisputable model for academic painters for centuries.

"Transfiguration". Rafael Santi.

Myths from N.V. Levashov:

“…One gets the impression that someone deliberately “moved” the first picture down in order to cut off the top with a “dangerous” object - a superbly depicted “flying saucer” ...
Raphael was a very unusual person, often going against the Holy Church. As the famous Vassari called him in his works, he was “an atheist with a rich imagination”... The second painting was painted in the last year of the artist’s life (1520) and was called “Departure”. Having caused a real storm of indignation on the part of the Holy Church, the magnificent work was sentenced to destruction."

Debunking Myths:
Author: Valery
09.03.2011 15:56
In the chapter “Isidora-8. Key of the Gods" N.V. Levashov provides an illustration that combines two paintings - “considered destroyed” and Raphael’s “Transfiguration”...
It is also given there heroic story about how Raphael first drew a picture of a UFO, then the church forbade him to have such an image - and he took it and drew it new picture without a UFO, but with additional figures at the bottom.
Thus, we see that the artist painted TWO COMPLETELY IDENTICAL paintings. Or did he have a Xerox? The coincidence, as we see, is complete. How could this be?
But no way. Firstly, during Raphael's time, artists always depicted figures in their entirety. No severed legs, protruding heads, etc. (look at the first "picture"). Well, Raphael was the only one who changed this rule only once? Of course not.
And, secondly, this is actually a photo montage from a fairly well-known website about Photoshop. Posted 01/19/2007.http://fx.worth1000.com/entries/350752/true
I note that Levashov’s photograph appeared in 2010. Without indicating the source, storage location, etc. Only high-quality scan. Not a hidden camera photograph, but good quality scan Only from Levashov and on the mentioned website. Nowhere else. Think about it.

(1518-1520), now in the Vatican Pinacoteca, was commissioned by Raphael in 1517 by Giulio de' Medici for the Cathedral of Narbonne. Raphael began writing it no earlier than July 1518 and did not have time to finish it. The lower part of the painting was completed by students and assistants - mainly Giulio Romano, who received payment for it in 1522.

"And for Giulio de' Medici, cardinal and vice-chancellor, he painted on wood the Transfiguration of Christ, which was intended to be sent to France and on which he continuously worked with his own hands, bringing it to the utmost perfection. In this story he depicted Christ transfigured on the mountain Tabor, at the foot of which eleven disciples are waiting for him. A possessed youth was brought there so that, having descended from the mountain, Christ would free him. In the youth, who, convulsively stretched out with his whole body, screams and rolls his eyes, we see all the torment that has penetrated deeply into his flesh, into his veins and into his blood, infected evil spirits, and the deathly pallor of this body with its tortured and frightened movements. This figure is supported by an old man, who was not afraid to hug her and, opening his eyes wide with glare on their pupils, raised his eyebrows high and wrinkled his forehead, thereby simultaneously expressing the strength of his spirit and the fear that overwhelmed him, and judging by the gaze he turned to apostles, it seems that he, in hope of them, encourages himself. There is also one woman, among many others, who, being the main figure in this picture, kneels in front of all the others and, turning her head towards them, stretches out her hands to the demoniac, as if pointing to his suffering. The apostles, some standing, some sitting, and some kneeling, show the greatest sympathy for his misfortune.

And indeed, Raphael painted in this piece figures and heads, which, not to mention their exceptional beauty, are so unusual, varied and beautiful that, according to the unanimous opinion of artists, it is the most famous, the most beautiful and the most divine work of all he has ever created. So, anyone who wants to imagine and depict in painting the divine transfiguration of Christ, let him look at this work, in which Raphael presented Christ hovering over the top of this mountain and dissolved in the transparent air, and on his sides Moses and Elijah, who, illuminated by a dazzling radiance, come to life in the light emanating from it. And on the ground below them are Peter, James and John, lying in different and beautiful positions: some bowed their heads to the ground, and some, shading their eyes with their hands, protect themselves from the rays and exorbitant shine surrounding the figure of Christ, who, dressed in snow-white robes, with his arms outstretched and his forehead raised, as if he represents the consubstantiality and divine nature of all three persons of the Holy Trinity, concentrated in one person by the great perfection of Raphael’s art. And it seems that the artist so identified himself with his own skill, having discovered in the face of Christ all the daring and all the power of his art, that, having finished it as the last thing that was bequeathed to him, he therefore no longer touched his brushes when the tragedy befell him. death" (Vasari).

Raphael began work on the Transfiguration in 1518. He painted the picture himself, without the help of numerous students. A sudden fever claimed the life of the great artist and, in the same month in which Raphael was born 37 years earlier, Rome mourned its favorite. The work was completed by him just before his death on April 6, 1520. The artist's body was exhibited in the Pantheon along with the newly completed painting (they said that he painted the head of Christ just before his death).

Human perception and relationship to the Divine is the theme of this in highest degree dramatic work Raphael. In it, the artist combined two stories that follow immediately after each other in the Gospels of Matthew, Mark and Luke.

The texts of three evangelists preserved the story of the appearance of the Transfiguration: Gospel of Luke 9:28-36; Matthew 17:1-7; Mark 9:2-9.

After these words, eight days later, He took Peter, John and James and went up to the mountain to pray. When he prayed, the appearance of His face changed, and His clothes became white and shining. And behold, two men talked with Him, who were Moses and Elijah; appearing in glory, they spoke of His exodus, which He was about to accomplish in Jerusalem. Peter and those with him were burdened with sleep; but when they awoke, they saw His glory and the two men standing with Him. And when they departed from Him, Peter said to Jesus: Master! It’s good for us to be here; Let us make three tabernacles: one for you, one for Moses and one for Elijah, not knowing what he said. While he was saying this, a cloud appeared and overshadowed them; and they were afraid when they entered the cloud. And there came a voice from the cloud, saying: This is My Beloved Son; listen to Him. When this voice came, Jesus was left alone. And they kept silent and did not tell anyone in those days what they saw.

The lower part depicts a scene in which the apostles encounter a demon-possessed youth and realize their powerlessness.

The very next day, when they came down from the mountain, many people met Him. Suddenly one of the people exclaimed: Teacher! I beg You to look at my son, he is the only one with me: the spirit seizes him, and he suddenly screams, and torments him, so that he emits foam; and forcibly retreats from him, having exhausted him. I asked Your disciples to drive him out, but they could not. Jesus answered and said: O faithless and perverse generation! How long will I be with you and endure you? bring your son here. While he was still walking, the demon overthrew him and began to beat him; but Jesus rebuked the unclean spirit, and healed the boy, and gave him to his father. And everyone was amazed at the greatness of God.

Gospel of Luke 9:37-43; Matthew 17:14-18; Mark 9:14-27.

Healing, both physical and spiritual, can only be brought by Christ, whose Divine origin is confirmed by the Transfiguration.