Raphael and artworks E-Book

Eugène Müntz

• Herausgeber: Parkstone International
• Sprache: Englisch
• Veröffentlichungsjahr: 2023

Seitenzahl: 75

Beschreibung

Raphael and artworks

Leseprobe

Eugene Müntz

Translation: Michael & Lenita Locey

© 2023, Confidential Concepts, Worldwide, USA

© 2023, Parkstone Press USA, New York

© Image-Barwww.image-bar.com

All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world.

Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

ISBN: 978-1-78160-972-9

Contents

Biography

Birth of Raphael and his First Works

His Departure for Perugia and his Collaboration with Perugino

Raphael Travels to Siena –TheVision of a Knight

Raphael Returns to Urbino

Raphael in Florence

Return to Perugia in 1505

Raphael in Rome

Raphael in the Service of Julius II:the Stanza della Segnatura – Disputation over the Most Holy Sacrament; School of Athens; Parnassus

Raphael in the Service of Julius II: theStanza dell’Eliodoro

Raphael at Court

Death of Bramante and the Commissions by Leo X

Raphael and Antiquity

Raphael and Michelangelo

Agostino Chigi and the Portraits

Raphael’s Last Years

List of Illustrations

“Here lies Raphael, who while he lived made Nature afraid of being bested by him and, when he died, of dying with him.”

— Pietro Bembo

Biography

1483

Raffaello Santi or Sanzio, known as Raphael, is born in Urbino, probably on the 6th of April. He is the son of Giovanni Santi, a painter and official poet at the court of the great patron of the arts Federico da Montefeltro.

1491

Death of Raphael’s mother. He is deeply affected by the event.

1494

His father also dies. He is taken in by his uncle, a priest.

1495

The young artist arrives in Perugia and supposedly becomes one of the disciples of Pietro Vannucci, known as Perugino.

1501

The artist finishes the first work known to be his, the altar of the church of San Nicola da Tolentino, at Castello, in Umbria.

1504-1508

He spends several years in Florence, which is later known as his Florentine period. He discovers the works of Leonardo and Michelangelo, which influence him strongly.

Raphael paints many pictures of the Virgin Mary, in particular The Madonna of the Goldfinch (1506), TheMadonna of the Pinks (1506-1507) and The Madonna and Child with Infant St John the Baptist, often called La Belle Jardinière (1507-1508).

1508

He leaves for Rome where he settles permanently. Pope Julius II asks him to decorate the Stanze della Segnatura at the Vatican. They contain two major works: the School of Athens and Disputation over the Most Holy Sacrament.

1512

Raphael takes up architecture. He plans, designs, and supervises the construction of a chapel for Agostino Chigi.

1514

He finishes the decoration of another room in the Vatican, the Stanza dell’Eliodoro. The artist’s popularity is now such that he receives many commissions. Most are finished by his assistants, so much work does he have. His workload increases even more when he is asked to finish St Peter’s Basilica, following the death of his mentor and friend, the architect Bramante.

1515

Raphael paints the Portrait of Baldassare Castiglione, probably with the help of his assistants.

1516

Cardinal Giuliano de’ Medici commissions the altarpiece of the Transfiguration. He will work on it until his death and it will then be finished by one of his pupils.

1517

Raphael is appointed superintendent of antiquities in Rome by Pope Leo X. He immediately begins an inventory of the ancient monuments in the city.

Still working for the Pope, he completes a series of ten cartoons for tapestries for the Sistine Chapel. These are later woven by Pieter van Aelst in Brussels.

1518-1519

He paints one of his masterpieces, the Portrait of Leo X with Cardinals Giuliode’ Medici and Luigi de’ Rossi. It is perhaps his only late work done entirely without the help of his assistants.

The Fornarina is also painted during this period, inspired by the baker’s daughter with whom Raphael is supposed to have been hopelessly in love.

1520

Raphael dies of a fever on the 6th of April, his thirty-seventh birthday. As he is by then wealthy and admired, his funeral is held in the Vatican and his body buried in Rome at the Pantheon.

Angel Holding a Phylactery (fragment of the Baronci Altarpiece), 1500-1501

Oil on wood, 58 x 36 cm. Musée du Louvre, Paris

Birth of Raphael and his First Works

On the 6th of April 1483, Raphael, who would carry to such heights of glory the name of Santi, was born in Urbino, Italy. His father, Giovanni Santi, gave him the name of an archangel, as though guessing the celestial splendour to which his son would rise. Giovanni was a modest and thrifty member of the middle class, ready to accept any commission, provided it was well remunerated.

To judge him only by his ordinary occupations, one would be tempted to take him for an artisan rather than an artist, so diverse and varied were his activities. But this worker, so humble in appearance, had travelled extensively. He had studied the works of the most famous masters; he possessed the secrets of the trade and stopped at nothing in order to remain abreast of new methods. He had observed and read widely, and the names of the humanists were familiar to him.

Given Giovanni Santi’s tastes, we may assume that, in addition to a very careful artistic education, his son received a good and solid literary one as well. Raphael lost his mother at the age of eight, and his father four years later. In spite of Giovanni Santi’s premature death, knowledgeable judges see several similarities of style between the works of the father and those of his son. It is quite probable that Raphael received some lessons from his father. How was the interval separating the death of Giovanni Santi and Raphael’s departure for Perugia filled?

It is probable that in his native city the boy received lessons from his compatriot Timoteo Viti. This capable painter, whose value should, nonetheless, not be exaggerated, had returned to Urbino in 1495 after solid studies done in Bologna in the workshop of Francia. A tender friendship immediately united the two artists. In his period of grandeur, Raphael did not forget the companion of his youth; he called him to him in Rome, and asked for his help in the execution of the Sibyls and the Prophets in the church of the Pace.

The Crucified Christ with the Virgin Mary, Saints and Angels (The Mond Crucifixion), c. 1502-1503

Oil on poplar wood, 283.3 x 167.3 cm. The National Gallery, London

The Madonna and Child with a Book, c. 1502-1503

Oil on wood, 55.2 x 40 cm. Norton Simon Museum of Art, Pasadena, California

Head of a Boy with a Cap, c. 1502-1503

Black chalk, 21.2 x 18.6 cm. Palais des Beaux-Arts, Lille

The Crowning of the Virgin (Oddi Altarpiece), 1502-1504

Oil and tempera on wood transferred onto canvas, 272 x 165 cm. Musei Vaticani, Vatican City

Saint Michael and the Demon, known as The Small Saint Michael, c. 1503-1505

Oil on wood, 30 x 26 cm. Musée du Louvre, Paris

Portrait of Elisabetta Gonzaga, 1504

Oil on wood, 52.9 x 37.4 cm. Galleria degli Uffizi, Florence

His Departure for Perugia and his Collaboration with Perugino

If Raphael’s new home, Perugia, was less developed culturally in 1495 than Urbino, it offered some compensation from the point of view of the beauty of the countryside, its variety and the vastness of the reactions it evoked. Here again the young artist was to breathe the brisk, vivifying air of the mountains, and be in contact with a countryside full of poetry.

Pietro Vannucci, “Perugino”, his new master, concentrated only on painting, nothing else, whereas most of his contemporaries excelled at once in painting, goldsmith work, architecture or sculpture. But he had travelled greatly, he had seen close-up the most remarkable men of that great time. His conversation was therefore perfect for sparking the interest of his young listener. He could speak to him of the very energetic and unscrupulous Pope, Sixtus IV, whose unflagging activity had transformed Rome; of Innocent VIII, a no less enthusiastic builder; of Cardinal Giuliano della Rovere, whose magnanimous personal warmth, mixed with frightening flashes of temper, already foretold the style of his papacy as Pope Julius II. In Florence, Perugino had had the opportunity to see Lorenzo the Magnificent, perhaps also Charles VIII. Savonarola struck him as a true prophet, whose teachings he followed enthusiastically. Then the master spoke of matters of art. He described Verrocchio’s studio, a training ground for great artists, where he had worked beside Leonardo da Vinci and Lorenzo di Credi.