Rafael (actually Raffaello Santi or Sanzio, Raffaello Santi, Sanzio) (26 or 28 March 1483, Urbino - April 6, 1520, Rome), Italian painter and architect.

Rafael, the son of Giovanni Santi's painter, spent early years in Urbino. In 1500-1504, Raphael, according to Vazari's testimony, studied by the artist Perugino in Perugia.

From 1504 Rafael worked in Florence, where he met the work of Leonardo da Vinci and Fra Bartolomet, engaged in learning anatomy and scientific perspective.
Moving to Florence played a huge role in the creative formation of Raphael. Of paramount importance for the artist was familiar with the method of the Great Leonardo da Vinci.
Following Leonardo, Rafael begins to work much from nature, studies anatomy, mechanics of movements, complex poses and angles, looking for compact, rhythmically balanced composite formulas.
Madonn's numerous images created by him in Florence brought with a young artist with allialation glory.
Rafael received from Pope Julia II Invitation to Rome, where he was able to get closer to the antique monuments, participated in archaeological excavations. Having moved to Rome, the 26-year-old master receives the position of the artist of the Apostolic Throne and the commission to paint the paradinary quarters of the Vatican Palace, from 1514 he directs the construction of St. Peter's Cathedral, works in the field of church and palace architecture, in 1515 it is appointed by the Commissioner for antiquities, is responsible for learning and The protection of ancient monuments, archaeological excavations. By fulfilling the order of Pope, Rafael created the painting of the Vatican halls, chanting the ideals of freedom and earthly happiness of a person, the infinity of his physical and spiritual possibilities.

The painting of Rafael Santi "Madonna Concatented" was created by the artist in twenty years.

In this picture, the young artist Rafael created his first wonderful embodiment of the image of Madonna, who occupied an extremely important place in his art. The image of a young beautiful mother, in general, so popular in Renaissance art, especially Rafael, in the gift of which there was a lot of softness and lyricism.

Unlike the masters of the 15th century in the film of the young artist Rafael Santa, there were new qualities when the harmonic composite construction does not shine images, but, on the contrary, perceived as a necessary condition that the sensation of naturalness and freedom, which they generate.

Holy Family 1507-1508 years. Old Pinakotek, Munich.

Picture of the artist Rafael Santi "Holy Family" Canijani.

Customer of work - Domenico Canijanini from Florence. In the picture "Holy Family", the great painter of the Renaissance era Rafael Santi portrayed in the classic key of biblical history - the Holy Family - Mary Maria, Joseph, Baby Jesus Christ, along with the Holy Elizabeth and the infant John the Baptist.

However, only in Rome Raphael overcame dryness and some stiffness of his early portraits. It is in Rome that the brilliant talent of Rafael-Portraitist reached

In Madonna, Rafael Roman period, the idyllic mood of his early works is replaced by reconstitution of deeper human, maternal feelings, as full of dignity and mental purity, the intercession of mankind speaks in the most famous work of Rafael - "Sicstinian Madonna".

The picture of Rafael Santi "Sicstinskaya Madonna" was originally created a great painter as an altar image for the Church of the San Sisty (St. Sicsta) in Piacense.

In the picture, the artist depicts Virgin Mary with the infant Christ, Pope Sikst II and St. Barbara. The picture "Sicstinskaya Madonna" belongs to the number of the most famous works of world art.

How was the image of Madonna? Was there a real prototype for him? In this regard, a number of old legends are associated with the Dresden Pattern. Researchers are found in the face of Madonna similarity with a model of one of the female portraits of Raphael - the so-called "lady in the bedspread". But in solving this issue, the famous statement of Rafael himself from a letter to his friend Baldassare Castiglion that in creating an image of perfect female beauty, he was guided by a certain idea that arises on the basis of many impressions from the artist in the life of beauties. In other words, the creative method of the painter of Rafael Santi is the selection and synthesis of observation of real reality.

In recent years, Rafael was so overloaded with orders, which trusted the fulfillment of many of them to his students and assistants (Julio Romano, Giovanni Da Udine, Perino del Waga, Francesco Penny and others), usually limited to general observation on the work.

Rafael had a huge impact on the subsequent development of Italian and European painting, becoming along with antiquity masters by the highest example of artistic perfection. The art of Rafael, who had a huge influence on the European painting of the XVI-XIX and, in part, of the XX centuries, during the centuries, retained for artists and viewers, the significance of an indisputable artistic authority and sample.

In the last years of creativity, in the drawings of the artist, His students have created huge cardboard on biblical topics with episodes from the life of the apostles. According to these cardhouses, Brussels Masters had to fulfill monumental tapestries, which were intended to decorate the Sistine Chapels on holidays.

Pictures of Rafael Santi

The painting of Rafael Santi "Angel" was created by the artist aged 17-18 years at the very beginning of the 16th century.

This magnificent early work of a young artist is part or a fragment of the baronic altar, affected by the earthquake of 1789. Altar "Coronation of Blessed Nikolay Tolentinsky, the winner of Satan," ordered Andrea Baronchi for his home chapel of the Church of the San Agostinho in Chitta de Castello. In addition to the fragment of the painting "Angel", three more parts of the altar were preserved: "Most High-Creator" and "Most High Deva Maria" in the Capodimont Museum (Naples) and another fragment "Angel" in Louvre (Paris).

The painting "Madonna Granduk" is written by the artist Rafael Santi after moving to Florence.

Created by a young artist in Florence Numerous images of Madonne ("Madonna Granduca", "Madonna with a shcheler", "Madonna in Green", "Madonna with a baby Christ and John the Baptist" or "Beautiful Sadman" and others) brought Rafael Santi allialy glory.

The picture "Son Knight" is written by the artist Rafael Santi in the early years of his work.

The painting of the heritage of Borghese is probably a pair to another work of the artist "Three Graces". These paintings are "Knight's sleep" and "three graces" - almost miniature compositions.

The topic of "Knight's sleep" is a kind of refraction of the ancient myth about Hercules at the crossroads between the allegorical incarnations of valor and pleasure. Near the young knight depicted sleeping against the background of a beautiful landscape, there are two young women. One of them, in strict robe, offers him a sword and a book, the other - a branch with flowers.

In the painting "Three Graces", the composition of the three nude female figures itself is borrowed, apparently with an antique cameley. And although in these works of the artist ("three graces" and "Knight's sleep") a lot of uncertain, they attract their naive charms and poetic purity. Already here, some features inherent in the grade of Raphael, the poetry of the images, a sense of rhythm and soft singers of lines.

The altar picture of Rafael Santi "Madonna Anshidia" is written by an artist in Florence; The young painter has not yet turned 25 years old.

Unicorn, mythical animal with bull body, horses or goat and one long direct horn on the forehead.

Unicorn is a symbol of purity and virginity. According to legend, only an innocent girl can tame a fierce unicorn. The picture "Lady with a unicorn" was written by Raphael Santi based on the most popular mythological plot in the times of Renaissance and mannerism, which many artists used in their paintings.

The painting "Lady with a unicorn" in the past was very damaged, currently restored partially.

Picture of Rafael Santi "Madonna in greens" or "Maria with a baby and John the Baptist."

In Florence, Rafael created the "Madonn" cycle, indicating the occurrence of a new stage in his work. Belongs belonging to the most famous of them "Madonna in Green" (Vienna, Museum), Madonna with Shcheggle (Uffizi) and Madonna-Sadovnik (Louvre) represent a kind of common motive options - images of a young beautiful mother with a baby Christ and Little John the Baptist on the Background of the Landscape. These are also options for one topic - the themes of maternal love, light and serene.

Altar painting Rafael Santi "Madonna di Foligno".

In the 1510s, Raphael works a lot in the field of the altar composition. A number of its works of this kind, including "Madonna di Foligno", summarize us to the greatest creation of its easel painting - "Sicstinian Madonna". This picture was created in 1515-1519 for the Church of St. Sict in Piacenz and now located in the Dresden art gallery.

The painting "Madonna di Foligno" in its compositional construction is similar to the famous "Sikstinsky Madonna", with the only difference that in the painting "Madonna di Foligno" there are more acting persons and the image of Madonna is distinguished by a peculiar inner closure - her eyes are engaged in his child - the infant is Christ .

The painting of Rafael Santi "Madonna del Imapannata" was created by a great painter almost at one time with the famous "Sicstinian Madonna".

In the picture, the artist depicts Virgin Mary with children Christ and John the Baptist, Holy Elizabeth and St. Catherine. The painting "Madonna del Imapannata" testifies to the further improvement of the style of the artist, on the complication of images in comparison with the soft lyrical images of his Florentine Madonn.

The mid-1510s were the time to create the best portrait works of Raphael.

Castiglione, Graph Baldassare (Castiglione; 1478-1526) - Italian diplomat and writer. Born near Mantui, served at different Italian courtyards, was the ambassador of the Duke of Urbinsky in the 1500s of Heinrich VII English, from 1507 in France in the King Louis XII. In 1525, already in a fairly migrated age was sent by Papal Nunzim to Spain.

In this portrait, Rafael showed himself an outstanding colorist, able to feel the color in its complex shades and tonal transitions. The portrait of the "lady in the bedspread" differs from the portrait of Baldassare Castiglion with wonderful colorful advantages.

Researchers of the artist of Rafael Santi and the historians of the painting of the Renaissance Age are in terms of the model of this female portrait of Raphael, similarity with the face of the Virgin Mary in his famous film "Sicstinskaya Madonna".

John Aragonskaya 1518 year. Museum of Louvre, Paris.

Customer Pictures - Cardinal Bibbyen, Writer and Secretary at Dad Lev X; The picture was intended as a gift to the French king Francis I. The portrait was only started by the artist, and by whom it was concrete from his students (Julio Romano, Francesco Penny or Perino del Wag), it is not known for certain.

John Aragonskaya (? -1577) - the daughter of the Neapolitan king Federigo (subsequently lowled), the wife of Askanio, Prince Taliakoszo, famous for his beauty.

The extraordinary beauty of John Aragonskaya was the singing by contemporary poets in a number of poetic dedications, the meeting of which was a whole volume published in Venice

In the picture, the artist depicts the classic version of the biblical chapter from the revelation of John the Theologian or Apocalypse.
"And the war occurred in the sky: Mikhail and Angels fought against the dragon, and the dragon and angels fought him against them, but did not resist, and there was no place for them in the sky. And the Great Dragon, the ancient serpent, called the devil and Satania, who seduces the whole universe, is still unfolded to land, and his angels are overtaken with him ... "

Frescoes of Rafael

The fresco of the artist Rafael Santi "Adam and Eva" has another name - "Falling".

Fresco size 120 x 105 See Adam and Eve's fresco, Rafael wrote on the ceiling of Ponti's chambers.

The fresco of the artist Rafael Santi "Athens School" has another name - "philosophical conversations." The size of the frescoes, the length of the base is 770 cm. After moving to Rome in 1508, Rafael was charged with paintings of the Pope apartments - the so-called stans (that is, the rooms), which include three rooms in the second floor of the Vatican Palace and adjacent the hall. The overall ideological program of the fresco cycles in the stans, according to the plan of customers, was to be the glorification of the authority of the Catholic Church and its heads - the Roman high priest.

Along with the allegoric and biblical images, episodes from the history of the papacy are captured in separate frescoes, portrait images of Julia II and its successor of Lion X are introduced into some compositions.

Customer painting "Triumph Galatei" - Agostino Kiji, banker from Siena; The fresco is written by an artist in the villages of the villa.

The fresco of Rafael Santi "Triumph Galatei" depicts an excellent galate in the rapidly moving on the waves on the sink, harboring dolphins, surrounded by Triton and Naj.

In one of the first, performed by Raphael frescoes - "Dispatch", which depicts a conversation about the sacrament of communion, the majority of the cult motifs affected. Symbol itself - the seating (cloud) is installed on the altar in the center of the composition. The action takes place in two plans - on Earth and in heaven. Below, on both sides of the altar, the fathers, dads, pretrates, clergymen, elders and young men are located on both sides of the altar.

Among other participants here you can learn Dante, Savonarola, the pious-painting monk Fra Beato Angelico. Over the entire mass of the figures at the bottom of the frescoes, like the heavenly vision, the personality personification arises: the god father, below him, in the Golden rays, - Christ with the Virgin and John the Baptist, even lower, as if noting the geometric fresco center, - Dove in The sphere, the symbol of the Holy Spirit, and on the sides on the fairy clouds, the apostles are stern. And all this is a huge number of figures at such a complex compositional intent distributed with such an art that the fresco leaves the impression of amazing clarity and beauty.

Prophet Isaia 1511-1512 years. San Agostinho, Rome.

The fresco of Raphael depicts the great biblical prophet of the Old Testament at the time of revelation about the arrival of the Messiah. Isaiah (9th century BC), Hebrew prophet, zealous champion of religion Yahweh and an indulcation of idolatry. His name is the biblical book of the Prophet Isaiah.

One of the four Great Old Testament Prophets. For Christians, the prophecy of Isaiah about the Messiah (Emmanuil; Ch. 7, 9, "... Sea, the Virgin in Grev is, and give birth to a son, and the name will be gone: Emmanuel). The memory of the Prophet is worshiped in the Orthodox Church 9 (May 22), in the Catholic - July 6.

Frescoes and last pictures of Raphael

A very strong impression produces fresco "Failing to the Apostle Peter from the Tomnov", which depicts the wonderful release of the angel from the dungeon of the Apostle Peter (hint at the liberation of Pope Lion X from the French captivity by his papal legate).

At the Plafoughts of Pakskaya Apartments - Raphael Stanza Stenaki wrote the frescoes of "Falling", "the victory of Apollo above Martia", "Astronomy" and the fresco on the famous Old Testament plot "Solomon Court".
It is difficult to find any other artistic ensemble in the history of the arts, which would have the impression of such a figurative saturation in terms of ideological and fine-decorative, like the Vatican Machines of Raphael. Walls covered with multi-digurized frescoes, vaulted ceilings with a richest decor made of gilding, with frescoan and mosaic inserts, the floor of a beautiful pattern - all this could create an impression of overload, if not inherent in the overall plan of Rafael Santi's high orderliness, which brings into this complex art complex Required clarity and review.

Until recent years of his life, Raphael paid great attention to monumental painting. One of the largest works of the artist was the painting of Villa Farnesin, who belonged to the richest Roman banker Kiji.

In the early 10s of the 16th century, Rafael performed in the main hall of this villa in the Triumph of Galatei, which refers to its best works.

Myths about the princess psychrayed about the desire of the human soul to merge with love. For indescribable beauty, people revealed psyche more than Aphrodite. According to one of the versions, the jealous goddess sent her son, the deity of the love of Amur, excite the passion in the girl to the most ugly of people, however, seeing beauty, the young man lost his head and forgot about the admission of Mother. Becoming Psychai's spouse, he did not allow her to look at him. She, burning from curiosity, he lit a lamp at night and looked at her husband, not noticing the hot droplet of oil, fallen on his skin, and Cupid disappeared. In the end, like Zeus, loving connected. Apuli in "Metamorphosis" retells the myth about the romantic history of Amur and Psychai; Strangers of the human soul, thirsting to meet with their love.

The picture shows fornarin, the beloved Rafael Santi, the actual name of which Margherita Luce. The real name of the notion was established by the researcher Antonio Valerie, who discovered him in the manuscript from the Florentine library and in the list of nuns of one monastery, where the obedient was marked as a widow of the artist Rafael.

Fornarina is the legendary beloved and the simulator of Rafael, the real name of which Margherita Luce. According to many art historians of the Renaissance and the historians of the artist's creativity, Fornarina is depicted on the two famous paintings by Raphael Santi - "Fornarina" and "Lady in the bedspread". It is also considered that fornarin, in all likelihood, served as a model when creating the image of the Virgin Mary in the film "Sicstinskaya Madonna", as well as some other female images of Rafael.

Transfiguration Christ 1519-1520. Pinakotek Vatican, Rome.

Initially, the picture was created as the altar image of the Cathedral in Narbonne, commissioned by Cardinal Julio Medici, Bishop Narbonne. In the greatest degree of contradiction of the recent years of creativity, Rafael affected the huge altar composition "Transfiguration of Christ" - she was completed after the death of Raphael Julio Romano.

This picture is divided into two parts. In the upper part, the transformation itself is presented - this more harmonious part of the picture was still performed by Rafael himself. At the bottom depicted apostles trying to heal a random boy

It was the altar picture of Rafael Santi "Transfiguration of Christ" for whole century by an indisputable model for painters of academic directions.
Rafael died in 1520. His premature death was unexpected and made a deep impression on contemporaries.

Rafael Santi takes place in a number of the greatest masters of the high revival era.

The Italian artist of the Renaissance era, a brilliant schedule and a master of architectural solutions, Rafael Santi absorbed the experience of the Umbral School of Painting. In his canvases, as in the mirror, the ideals of revival were reflected. The world became kinder and cleaner when the eyes of the Rafael Madonne - Sicstinskaya, Concreate, Pasadinskaya, Orleans, watched him.

Childhood and youth

The painter was born in the spring of 1483 in the 15-thousand town of Urbino in the east of Italy. Giovanni Dei Santi's father worked as a court artist Duke, Murji Charl's mother raised her son and led a household. Family of Rafael has facilitated funds to pay the cormilitsa, but Giovanni insisted that the spouse focusing the baby alone. As a child, Rafael Santi showed ability to painting. Father noticed this when she took the boy to the castle, where masters worked, masterfully owned a brush, "the duke brought art, highlighting artists.

Paolo Sturchello, Luka Xinorelli - the names of the painters, known to every Italian. Matters painted the portraits of the Duke and his relatives, painted palace walls. The eyes of a young Raphael intently observed behind the brush of the masters. Soon, Santi realized that the son would leave in the shadows and him, and the studied with Xinorelli. Rafael Santa is early orphaned: he barely turned 8 years old, Mom died. The care of the most expensive person left the trail in the creative biography of the painter. His Madonna and portraits of loved womens like glow maternal love, which the artist suffered in childhood.

A stepmother of Bernardine appeared in the house, for which the son of her husband was a stranger. In 12, the artist remained a round orphan. Already then the teenager demonstrated an amazing skill, and he was determined in the artist's workshop Pietro Perugino. The painter taught the boy until sophisticated experts stopped distinguishing copies of Rafael from PEuggino's cloths. Santi as a sponge absorbed teacher's experience and left behind all the students, while not entered and was friends with them.

Painting

In 1504, the 21-year-old Rafael Santi found himself in Florence: a young painter moved to the cradle of revival after Perugino. Moving has a beneficially affected by the career and skill of the young man - the teacher introduced Rafael with the famous painters, sculptors and architects. In the city on the shore of Arno Santi met. About the lost picture of the Genial Leonardo "Leda and Swan", thanks to the copy of Rafael Santi. The Florentine Period of the artist presented the world of 20 Rafaelevsky Madonn with babies, in which Santi has invested all the longing about the mother.

The year of moving to Florence was marked by the writing of the Rafael of several early masterpieces. The "Breakage of the Virgin Mary" and the picture "Dream of the Knight" are dating the "Welcome". In Florence, "Madonna Concatented" and "Three Graces" appeared. On the last canvase, which is now stored in the Museum of the French city of Chanty, depicted goddesses innocence, beauty and love, holding golden balls - symbols of perfection. In the early canvases of Rafael Santi, the influence of the teacher is traced, but after 2-3 years the artist demonstrates the author's style.

From 1508, the painter lives in Rome, where he received an invitation from Pope Julia II. Heard about the young man The priest invited Santi to paint the machines - the Paradinary premises of the Vatican Palace. Seeing the sketch of the frescoes of Rafael, Julius II came to such a delight, which he gave the painter all the surfaces, ordered to remove old drawings. From 1509, Rafael Santi will remain in the eternal city, painting the stans, until the day of death. Rafael Machines are four halls of 6 by 9 meters, in each of which four frescoal compositions. The artist helped the disciples, one fresco was performed after the death of the painter on his sketches.

The most famous machine is the fresco "Athens School" (the second name "philosophical conversations"). On it, Rafael Santi posted 50 figures of philosophers, in the appearance of which the faces of the artists and thinkers of Italy are recognized (written with Da Vinci, look like). In 1514, who took the place of deceased Julia II Pope Lion X in 1514, appointed Santi to the main architect and the keeper of values. Rafael built the Basilica of St. Peter, making changes to the initial idea of \u200b\u200bthe deceased predecessor Donato Bramante, made a census of monuments of ancient Rome. The wizard's genius belongs to the Church of Sant-Elijo-deli-Orefi, Capella Kiji, Vosoni-Kaffarelli Palace.

In Rome, Raphael Santi continued the Madonn Gallery, bringing the amount of cloths to 42. They are also touching, and the beauty of motherhood shines in the eyes, hands, each line of clothes. But in the Roman Gallery of Madonn with babies, the author's handwriting of the painter, individuality is already visible. Women's faces are sensual, in the eyes of anxiety for the child. The landscape compositions are complicated in the second plan, making semantic shades in the picture.

Art historians point to the prevailing in the early images of Madonn the style of a quatrochetto: the figures of the front and cowned, the face is solemnly distracted, the look is calm. Quatrocheto is blurred by sensuality in the Florentine period, and the Roman Madonns are written in the Baroque nascent style.

In the house of the Master in Urbino, which is now called the "House-Museum of Rafael Santi", the early work of the painter "Madonna from the House of Santi" is being exposed. Art historians are not sure that Rafael painted canvas: there is an opinion that it belongs to the brush of his father, portrayed his wife with a little son. The picture of Madonna is turned to the viewer profile, the eyes are directed to the book, her hands gently touch the son. Work dates back to 1498. The most mysterious is called "Madonna Granduk" - the early work of Raphael, belonging to 1505. It is stored in the Florentine Uffizi Gallery.

According to the X-ray cloth, scientists have determined that the upper layer is applied later after Rafael Santi wrote a picture. Art historians agree that the artist Carlo Dolch, the owner of the canvas, inflicted the dark background, as he considered it with relevant religious rites. "Madonna Granduk" is located in the gallery of Florence.

"Madonna Concatented" is an early work of a 20-year-old artist, written in Umbria in the 1502-04 years. This is an unfinished thumbnail, to complete Rafael did not have time because of moving to Florence. Her second name is "Madonna with a book." Our Lady with sadness looks at the smiling baby, holding his hand for the book (presumably sacred writing).

Personal life

The talent of the artist was assessed during his lifetime: patrons, not wanting the masters to lure the French, paid his work generously. Rafael had an antique style mansion, built according to the author's project. Issue the daughter to marry the famous painter dreamed of merchants and duke, but the thin connoisseur of female beauty was held steadfast. Cardinal Bibbien, who wanted to breed from Santi, made Rafael's engagement with the niece, but Maestro refused at the last moment.

A woman who was able to conquer the heart of the 30-year-old Rafael, became a daughter of a bullhead, which Santi nicknamed "Foundarina" (bun, paddy). 17-year-old Margarita Luthi The artist saw Kiji in the garden, where she worked on the images of Amur and Psychai. Rafael Santi paid 50 gold to a bunker, so that his daughter picked up, and so carried away by the young beauty that she bought at the father for 3 thousand coins.

Six years of Margarita was the artist's muse that inspired to masterpieces. After the death of Raphael "Fornarina", having received a house and content, refused to go to the monastery. In the records of the monastery of Margarita as a widow of the painter.

Death

The cause of the death of the artist is unknown. According to the contemporary of Rafael, the painter and writer Vazari, the death of a 37-year-old Maestro became the consequence of a breakdown. After a rapid night, Santi returned home and complained about malaise. The doctor made bloodletting, which worsened the patient's condition, and he died. The second version states about the cold, which Raphael picked up in the burial galleries, where he participated in the excavations.

The artist died on April 6, 1520. The last shelter was the tomb in the Roman Pantheon. On the stove, covering the remains, engraved Epitaph: "The great Rafael rests here, during which nature was afraid of being defeated, and after his death she was afraid to die."

Work

• 1504 - "The wedding of the Virgin Mary"
• 1504-1505 - "Three Graces"
• 1506 - "Madonna in Green"
• 1506 - "Portrait of Anolo Donon"
• 1506 - "Madonna with a shoe"
• 1506 - "Portrait of a lady with a unicorn"
• 1507 - "Beautiful Saddleman"
• 1508 - "Big Madonna Caucola"
• 1508 - "Madonna Estergazy"
• 1509 - "Athens School"
• 1510-1511 - "Dispan"
• 1511 - "Madonna Alba"
• 1511-1512 - "Exile or Editor from the Temple"
• 1514 - "Meeting Pope Lion I and Attila"
• 1513-1514 - "Sicstinskaya Madonna"
• 1518-1519 - "Portrait of a young woman" ("Fornarina")
• 1518-1520 - "Transfiguration"

Rafael Santi (1483-1520) is the greatest Italian artist, architect and schedule.

Children's and Youth Years

Rafael appeared on March 14, 1483. It happened in the east of Italy in the small town of Urbino on the night of the coming passionate Friday. The father of the child Giovanni Dei Santi was engaged in poetry and painting, the artist he was gifted, but unbearable, he worked at the courtyard of Duke Montefeltro.

Mother Marezhi Charl's boy died very early at the boy. Rafael then was only 8 years old. Three years have not passed, as the father left in 1494. But Giovanni managed to send children to the right direction, Rafael got his first artistic experience in his workshop.

The boy was still quite small when the father found in it artistic giving and a tendency to art, began to exercise the Son in picturesque skill. And already quite soon received the assistant in the person of the young Rafael, there was no child and ten years old when he painted paintings along with his father on the order of the Urbinsky state. The first work of Raphael is the fresco of "Madonna and a baby", which he made with his father.

The first independent works of Raphael were paintings made by order for the church:

• "Horugwe with the image of the Holy Trinity" (the canvas is written in 1499-1500);
• "Coronation of St. Nikola from Tolenino "(above this altal manner Santi worked in 1500-1501).

Training in Perugia

In 1501, Santi enrolled to further teach painting in Perugia to the artist Pietro Perugino, who at that time, the leading position among Italian masters. The young student thoroughly studied his teacher's manner, became so decisively and accurately imitate her that soon a copy of Rafael could not be distinguished from the original paintings of the famous Perugino.

With the ultimate skill, Santa performed the work for Mrs. Magdalene Deli Appa (not paints on the canvas, but with a wood oil). Now this creation is located in the Church of San Francesco in Perugia, it depicts Mother of God, Jesus Christ and twelve apostles around the tomb, which contemplate heavenly vision.

The early works of Raphael of that period also include paintings:

• "Three Graces";
• "Archangel Michael, striking Satan";
• "Knight's sleep";
• "Sermon Saint John the Baptist."

Studying in Perugia, Rafael often came home to the Urbinsky town of Chitta de Castell, where, together with the Italian artist, Pinturikko did custom works.

In 1502, Santi wrote his very first "Madonna Solly", then he drew them until the end of his life.

By 1504, the artist has already developed a certain style, its first significant work appeared:

• "The engagement of the Virgin Mary Joseph";
• "Portrait of Pietro Btembo";
• "Madonna Concreate";
• "Saint George, affecting the dragon";
• "Coronation of Mary."

Florentine period of life

In 1504, Rafael left Perugia. He headed for Florence, this move played a huge role in the creative development of the artist. Here he began to carefully study the works of Bartolomeo della Port, Michelangelo, Leonardo da Vinci and other Florentine painters. Santi thoroughly engaged in the study of mechanics and the anatomy of human movements, complex angles and poses, worked a lot with kind.

In his paintings of the Florentine period, complex formulas of agitated and dramatic human movements are already viewed, which were previously developed by Michelangelo.

In 1507, Santi wrote another masterpiece "Position in the coffin".

Rafael's popularity began to grow, he received many orders for portraits and saints.

But Madonna and Baby became the main topic in his Florentine canvases, he wrote about 20 paintings. Despite the standard stories, the baby in Madonna in his arms either plays next to her with the John the Baptist, all images are absolutely individual. These works are viewed special maternal tenderness. Most likely, the fact that Mom died very early in Rafael, such a loss was reflected in the soul of the artist in a deep mark, he lasted all his caress and kindness from a woman who gave him life.

Madonns, depicted in his paintings, led to the success and glory of Rafael. He received a huge amount of orders for such the subject, during this period Santi wrote the best works:

• "Madonna Granduk";
• "Madonna under the Baldakhin";
• "Beautiful sadman" (or "Madonna with a baby and John the Baptist");
• "Madonna Terranova";
• "Madonna with carnations";
• "Madonna with a scyful".

Santi spent four years in Florence, during this time he reached unique technique in painting and individuality in style. Many of his work of this period are considered the most beautiful and ideal in the history of world painting, he wrote immaculate figures and faces.

In Florence, Santi met and made friends with Donato Bramante, which then played a considerable role in the artist's life.

Vatican

In 1508, Santi left Florence, he went to Rome, where all his remaining years lived.

Here he was assumed to his friend Bramte, Rafael took a job in the papal courtyard as an official artist. He began to engage in painting frescoes, brilliantly painted the station Della seventies with multifigure compositions. His work was pleased with Pope Julius II. Santi has not yet fully completed one machine, as Pope trusted him the painting of three more; And the painters who have already begun to paint (Perugino and Signorelli), removed from work.

There were a lot of orders, and Santi took his assistance to students. He himself was the sketches, and the disciples helped him in painting.

In 1513, Lev X came to replace Yulia II, he also appreciated the ability of Raphael and entrusted it to make cardboard for the Sistine Chapel, where biblical plots will be depicted. Also Lev X ordered the artist of loggias, which go to the courtyard of the Vatican. Within 5 years, these loggias from 13 arcades were erected in the ideas of Santi. Then the artist made sketches on biblical plots, and his students lay a loggia painted 52 frescoes.

In 1514, a friend and mentor of Raphael Donato Bramte died. At this time, the Cathedral of St. Peter began to build in Rome, Santi was appointed to the position of chief architect. And a year later, in 1515, he was approved as the main keeper of antiquities. It was Rafael who replaced the deceased Bramant, which completed the famous Vatican yard with loggias.

In the Vatican, the workload was crazy, but at the same time Santi managed to work on orders churches over altar images. The most majestic and masterpiece is his picture "Transformation".

Did not forget Santi and about his favorite theme - Madonna. During the time, he lived in Rome, he created about 10 images:

• "Madonna in a chair";
• "Madonna with fish";
• "Madonna Alba";
• Madonna Foligno.

Here he created the top of his work - "Sicstinian Madonna".

This canvas is considered phenomenal, no one will never be able to solve the secret of the great artist, as he managed to combine all the shades, forms and lines into one way, that when looking at this picture there is only one irresistible desire - to continuously look into the sad eyes of Mary .

Most of Rafael's paintings were written on religious topics. But portrait work attended his work. Especially elegantly created:

• "Portrait of Pope Julia II";
• "Portrait of Baldassar Castiglion";
• "Portrait of Bindo Altoviti";
• "Portrait of Lev X with Cardinals Julio Medici and Luigi Rossi";
• "Portrait of Cardinal Alessandro Farnes."

Sam Rafael himself was last captured in the picture "Self-portrait with a friend."

A large fan of painting, the owner of the Bank of Agostino Kiji offered Santi to decorate the frescoes on the theme of ancient mythology his residence outside the city built on the shore of the tiber. Working on this order, the artist created his best work, which is called the most beautiful, "Triumph Galatei".

Rafael had a lot of disciples, however, none of them became an outstanding artist. The greatest talent had Julio Romano, but his work was not appreciated by contemporaries. Several cloth wrote Giovanni Nanni. A good artist turned out from Perina Del Vagi, who worked in Genoa and Florence. Excellent makings were in Francesco Penny, but he died very early.

Other talents of Raphael

No less professional manifested himself Santi and in architecture. The church, chapels are built on his project, the Palazzo was distinguished by the grace, richest facade plastic, restrained noble forms and intimate interiors. Each palace created by him had an individual elegant look.

Santa was also engaged in engravings and drawings. Up to our time, about 400 of his drawings came. Rafael's engravings themselves did not do, but created sketches for them. According to his drawings, a lot of engravings made Markantonio Raymondi. One of the graphic works of Santi under the title "Head of the Young Apostle" was sold at the Sotbis auction at the end of 2012 for a record amount of 29,721,250 pounds of sterling (this figure twice the starting price).

Rafael loved poetry very much, even a few poems wrote a little.

Personal life

The lover of the Great Artist was his simulator Margherita Lui, who received the nickname of fornarin.

The girl can be seen on his two pictures "Donna Velata" and "Fornarina", and he painted her figure when painting Machine Machines.

Fathers of the foreman was a bake, they lived in Rome. When a young Rafael arrived here, he met Brownari completely accidentally and immediately fell in love. For 3000 gold, he bought a girl at her father and dismay on a specially rented villa for her.

Until the death of the artist Fornarina was his simulator and the main love of his life, almost 12 years old they lived together, although it cannot be said that the young woman remained faithful to his Raphael. When Santi painted the villa to the banker Agostino Kiji, Brovarina twisted the novel with the owner. She was also often not averse to Rafael's disciples.

A picture of the French artist Jean-Auguste Dominique Engr is written about this beautiful history of love, it is also called "Rafael and Fornarin".

The exact further fate of the foreman after the death of Raphael is unknown. There are two versions. One, she received a decent state of the will, led a slitty life and became the most famous curtisan in Rome. According to the second version, she was tonsured in a nun, where he died soon.

The death of the artist

More unknown, from which Raphael Santi died. Some sources claim that he became bad after a stormy night in bed with a vannarina. The modern researchers of his life put forward a suggestion that the artist visited excavations and fell ill there with a Roman fever, which led his death.

Santi died on April 6, 1520, barely survived to 37 years. His body is buried in Pantheon, tomb made with epitaph: "The great Rafael was stubbered here, with his life, Nathere was afraid to be defeated, and after his death she was afraid to die."

On the planet Mercury there is a crater, which is named after the Great Italian Rafael Santi.

Raphael (actually Rafael Santi), one of the greatest painters of the new time, was born on April 6, 1483 in Urbino. The first art education received his father, the painter Giovanni Santi, and after his death in 1494 continued at the Umbrian painter P. Perugino. By the time of stay in Perugino include the first paintings of Raphael. All of them wear the overall nature of the tender and deep religious dream of the Umbrian school. But already in the "hoop of the Virgin Mary" (Sposalizio), written at the end of this period, through this character, they shift the features of the beginner of the individuality of Raphael.

Raphael. The engagement of the Virgin Mary. 1504.

Florentine period of the creativity of Rafael

With the arrival of Raphael from the quiet Umbria to Florence, in 1504, the second period of its artistic activity begins. The works of Michelangelo, Leonardo da Vinci and Fra Bartolomeo, Florence itself - the center of all elegant and beautiful - all this had a strong effect on the artistic development of Rafael, surprised by the power of Michelangelo, he, however, joined Leonardo da Vinci and Fra Bartolomeo and surrendered to a zealous study of old Florentines. The delicate feeling and correct transmission of spiritual movements, the beauty of the shapes and overflows of the tones, which distinguish the paintings by Leonardo da Vinci, a reverent expression and the skillful arrangement of groups, knowledge and depth of the impression, which are inherent in the bartolomeo fragrance, reflected on the works of Raphael of this period, but did not deprive them clear Already speaking individuality. Often, obeying other people's influences, Rafael always took only what it was believed to him and useful, able to keep a sense of measure.

Raphael. Three Graces. 1504-1505

The Florentine period of creativity of Rafael begins the allegorical paintings "three graces" and "Knight's sleep".

Raphael. Allegory (knight's sleep). OK. 1504.

By this time also includes well-known panels on the theme of the Batvi of St. Michael and St. George with the Dragon, the paintings "Christ Blessing" and "Holy Catherine Alexandria"

Raphael. Holy Catherine Alexandria. 1508.

Madonna Rafael

But in general, the time spent by Raphael in Florence is the era of Madonn, "Madonna with a Scheggle", "Madonna House Tempi", "Madonna House of Column", "Madonna Del Baldakhino", "Madonna Granduca", "Madonna Canijani", " Madonna Terranova, "Madonna in Green", the so-called "Beautiful Sadman" and excellent on the dramaticness of the composition "The position of Christ in the Coffin" - the main works of Raphael during this period.

Raphael. Madonna in Green, 1506

Here, in Florence, Rafael is taken for portraits and writes portraits Anolo and Maddalena Donon.

Raphael. Portrait of Anololo Donon. 1506.

Roman period of creativity of Rafael

Harmoniously merging all the influences together and putting them, Rafael is gradually going forward and reaches its highest perfection on the third period of its activities during his stay in Rome. According to Bramte, in 1508, Rafael Santi was summoned to Rome Julia II to decorate some Vatican Fresco Hall. Grand Objectives that appeared before Rafael, inspired him the consciousness of his own strength; The proximity of Michelangelo, who started the painting of the Sistine Chapel at the same time, opened a noble competition in it, and the world of classical antiquity, opened in Rome more than anywhere else, told his activities an elevated direction and gave plastic completeness and clarity to express artistic ideas.

Painting Rafael in Machnaya Della Senyatura

Three rest (Stanza) and one large Vatican Hall are covered in the arches and walls of the frescoes of Rafael, and therefore are called "Raphael Station". In the first rest (Della segnatura Della Senetura) Rafael portrayed the spiritual life of people in her high directions. Theology, philosophy, jurisprudence and poetry are hired in the form of allegorical figures on the ceiling and serve as if title to four large compositions on the walls. Under the figure of theology, the so-called "La Disputa" is placed on the wall - the dispute about St. Eucharist - and in front of her the so-called "Athens School". Representatives of the Wisdom of Christian, on the second - pagan, and thus the Italian revival was collected in the group. In the "dispute" action occurs simultaneously on earth and in heaven. In the sky, Christ, among the Mother of God and John the Baptist, are somewhat lower than his apostles, prophets and martyrs; Above Christ is a god father with a keeper, surrounded by angels, below Christ - the Holy Spirit in the appearance of a dove. On Earth in the center of the picture - the altar, cooked to bring the bloodless victim, and around him the Fathers of the Church, Vervoidors and simple believers in several busy groups. In the sky, everything is calm; Here, on earth, everything is full of excitement and struggle. Intermediaries between the earth and the sky serve four gospels that are angels.

Raphael. Dispute about the Eucharist (dispute). 1510-1511

The Scene of the "Athens School" is an antique portico, decorated with statues. In the middle of two great thinkers: the aspirational hand and thought to the sky idealist Plato and looking to the ground realist Aristotle. They are surrounded by attentive listeners. Under the figurative of jurisprudence on the wall, cut the window, placed at the top, above the window, three figures, personifying prudence, strength and moderation, and on the sides of the window - on the left Emperor Justinian, who takes from the knees of tribonian Pandeks, on the right - Pope Gregory VII, handing decretal .

Raphael. Athens School, 1509

Against this fresco, under the figure of poetry - "Parnas", on which great ancient and new poets are collected.

Painting Rafael in the station di Eliodoro

In the second rest (Di Eliaodoro), on the walls, with a strong dramatic inspiration depicted "Exile or Church of the Temple", "Miracle in Bolsene", "Liberation of the Apostle Peter from the Tomnov" and "Attila, who stopped when attacking the Rome of Pope Lion I and Terrible phenomenon of Apostles Peter and Paul. "

Raphael. Exile of orodore from the temple, 1511-1512

In these works, there is a divine intercession that protects the church from the enemies of external and internal. When painting this room, Raphael first resorted to the help of his beloved student Julio Romano.

Raphael. Meeting Pope Lion I and Attila, 1514

Painting Raphael in Mottal Delle Incondio

The third peace (Dell "Incendio) was decorated with four wall frescoes depicting a fire in Borgo, stopped by the word Pope, victory over Saratsins at the oath, oath of lion III and the coronation of Karl the Great. Only the first one of them undoubtedly belongs to Rafael, the rest are written by his students. Cardboard, which, sometimes Raphael did not have time to give the final finish.

Painting Raphael in Constantine Hall

In the adjacent hall of Konstantin, finally, next to other scenes from the life of Konstantin the Great, the champion of the church and the founder of its secular power, created by Raphael. A powerful image of the Battle of Constantine is one of the majestic battle paintings of the new art, although it has been performed by the most part of Julio Romano.

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

Painting Raphael in Vatican Logs

Without graduating from the still stans, Rafael was to be taken for the decoration of Vatican loggias - open galleries surrounding from three sides Yard of St. Damas. For Logii Rafael performed 52 sketches to the plots from the Old and New Testament, known as the "Raphael Bible". If you compare this Bible with the biblical pictures of Michelangelo in the Sistine Chapel, then the opposite of the gloomy tragic and the lyrics of Michelangelo and the calm epik of Raphael, who preference is preferred, and grace.

Tapestries for the Sicstinian Chapel

The third extensive work of Raphael in Rome was cardons with scenes from the Acts of Apostles for 10 tapestries in the Sistine Chapel, ordered by Papho Lvom X. Rafael is one of the greatest masters of historical painting. At the same time, Rafael wrote in Villa Farnesine "Triumph Galatei" and for the gallery of the same villa made sketches from the history of Psychai, the time to compose at the request of the dad drawings for dishes and boxes with incenses.

Life of Raphael in Rome

In 1514, the Lion X appointed Raphael to the main observer for the construction of the Cathedral of St. Peter, and in 1515 - the guardian mined from the excavations in Rome ancient monuments. And Rafael found another time to perform a number of excellent portraits and large paintings, in this Roman period they are created by the way; Portraits of Julia II and Lion X; Madonna: "With a bedspread", "DELLA SEDIA", "DI FOLIGNO", "from the house of Alba" and the most perfect from Madonn - "Sikstinskaya"; "Holy Cecilia", "Cross's Loop" (Lo Spasimo Di Sicilia) and the "Transfiguration" artist unfinished by the death of the artist. But now among many works, upstairs of their fame, Rafael as diligently prepared for each painting, carefully thinking by numerous sketches. And with all that Rafael in recent years has been engaged in architecture in recent years: several churches, palaces, villas, but for the Cathedral of St. Peter he managed to make a little, besides, he did drawings for sculptors, and he himself was not alien to the sculpture: Rafael belongs to the marble sculpture of the child on the dolphin in the St. Petersburg Hermitage. Finally, Rafael was fond of the idea of \u200b\u200bthe restoration of ancient Rome.

Raphael. Sicstinskaya Madonna, 1513-1514

Rafael did not have a minute of peace, Rafael did not need a minute, in money he did not need, not to spend his earnings. Lion X made it his chamber and the knight of golden spurs. With many of the best representatives of the Roman Society, Rafael was associated with the Uzami Friendship. When he left the house, a crowd was surrounded by a crowd of a man in 50 of his disciples who caught any word of his beloved teacher. Thanks to the influence of the peaceful, alien enlightenment and ill-wishes of the nature of Rafael, this crowd was a friendly family without envy and quarrels.

Death of Raphael

On April 6, 1520, Rafael died on 37 years of life from the hot, which he grabbed during excavations; It was fatal for him exhausted by the unusual tension of the body. Rafael was not married, but was engaged with the nephew Cardinal Bibbien. According to Vazari, Rafael until the death of death was hotly tied to his beloved fornarine, the daughter of the bober, and her features seem to be the basis of the face of the Sistine Madonna Molva, that the reasons for the early death of Raphael was immoral life, appeared later and was not founded . Contemporaries respond to deep respect for the moral warehouse of Rafael, Rafael's body was buried in Pantheon. In 1838, due to the doubt, the tomb was open, and the remains of Raphael were found in complete intention.

Features of the creativity of Rafael

In the activities of Rafael Santi affects the inexhaustible creative fantasy of the artist, similar to which in such perfection, do not meet anyone else. The pointer of individual paintings and drawings of Rafael hugs 1225 rooms; In the whole mass of his works, it is impossible to find anything superfluous, everything breathes simplicity and clarity, and here, as in the mirror, the whole world is reflected in its diversity. Even the Madonns are extremely different: from one artistic idea - images of a young mother with a child - Rafael managed to extract as many perfect images in which it can manifest itself, another distinguishing feature of Rafael's creativity - a combination of the wonderful harmony of all spiritual tissues. Rafael has nothing prevailing, everything is connected in extraordinary equilibrium, in perfect beauty. The depth and power of the plan, the relaxed symmetry and the completeness of the compositions, the wonderful distribution of light and the shadows, the truthfulness of life and the characterity, the charm of the flavor, understanding the naked body and drapery - everything is harmoniously combined in his work. This multilateral and harmonious idealism of the artist of the Renaissance, having perceived almost all the currents, did not comply with them, but created his original, enveloped him into perfect forms, draining the Christian piety of the Middle Ages and the breadth of the new man with realism and plastic Greco -Rima world. From the big crowd of his students, few rose above simple imitation. Taking significant participation in the works of Rafael and graduating from "Transfiguration" Julio Romano was the best student of Rafael.

Raphael. Transformation, 1518-1520

The life and creativity of Rafael Santi is described in the book of Georgeo Vazari "The Best of the most famous painters, sculptors and architects" ("Vite de" Più Eccellenti Architetti, Pittori E Scultori), 1568.

Rafael Santi is a man with an incredible destiny, the most secret and beautiful painter of the Renaissance. The rulers of Italy envied the talent and the mind of the genius painter, a representative of weak gender adored him for a cheerful temper and angelic attractiveness, and for kindness and generosity Friends called the artist by the messenger of Paradise. However, contemporaries did not suspect that the generous Raphael was afraid of his mind that his mind would fall into the abyss of madness.

History always has its origin and continuation. So April 6, 1483, in the small town of the kingdom of Italy Urbino, in the house of the court painter of Urbinsky Dukes and the poet Giovanni Santi, was born great Rafael Santia.

Giovanni Santi headed the most famous in Urbino art workshop. The tragedy in which he lost his beloved wife and mother, occurred at night, in his house. While finding the artist in Rome, where he wrote the portrait of John II Pope, his brother Niccolo in the enhancement enhancement killed the elderly mother and hardly wounded her pregnant Majia, the artist's wife. Guardian who arrived at the crime scene, arrested a criminal, but he managed to escape. The insane fear embraced, Niccolo rushed from the bridge to the ice river. The soldiers stood on the shore and tried to catch the body, when Majia Santi Already gave birth to a baby and died from the received wounds. About the trouble Giovanni recognized from the wandering traders. Throwing everything he hurried home. But, friends and neighbors have already dubbed the boy Rafael, buried his wife and mother.

The childhood of the Great Artist proceeded very happily and carelessly. Giovanni Santi, having survived the terrible tragedy, put all his strength in Rafael, protecting him from the concerns and troubles of the real world, prevented possible errors and corrected already perfect. Rafael has been engaged in childhood only with the best teachers, his father laughed at him with high hopes, instilling taste for painting. First toys Raphael There were paints and brushes from the Father's workshop. And already in seven years, Rafael Santia His gifted magical fantasies expressed in the workshop of the court painter - in the workshop of his father. Soon Giovanni married Bernardine again, daughters of the master's masts. The daughter of Elizabett was born from the second marriage.

Every day the boy delivered more and more joy. Giovanni watched how his son reflects and acts in his fictional world, and how these weak and even clumsy handles express everything on canvas. He understood that talent and supernatural abilities Raphael It's much more worthy of his own, so I gave a boy to studying my friend - artist Tyoteto Viti.

In the period of studying a decade Raphael For the first time, he moved away from the canons of the classic Italian portrait of the Renaissance and mastered the unique game of colors and paints, which in our day is a mystery for artists and art historians around the world.

In 1494, the father of a small genius dies from a heart attack, and by decision of the urban magistrate, the boy remained in care to the Family Family Far Bartolomew. He was the younger brother of the artist Giovanni and, unlike the crazy Niccolo, was sociable, had a caring, cheerful and good temper, did not remain indifferent and was always ready to help those who needed it. This good-natured merchant adored the nephew - Syrota and did not regret the money for his learning painting.

Already at seventeen, he easily worked with bright talented works, still admiring contemporaries. In November 1500, a seventeen-year-old young man left his small provincial town of Urbino and moved to the noisy port city of Perjo. There he entered the workshop of the famous painter Pietro Vanuchchi, known under the name Perugino. Looking at the first examination work of your new student, the gray-haired maestro exclaimed: "Today I have a joyful day, because I discovered the genius for the world!"

In the era of the revival, the workshop of Perugino was a creative laboratory in which brilliant personalities were brought up. Deep lyrics of Perugino, his tenderness, calm and softness found szvuk in the shower Raphael. Raphael is reworing. He quickly assimilates the picturesque manner of his teacher, studying under his leadership work on the frescoes, meets the technique and a figurative system of monumental painting.

For some time, Raphael is still under a powerful effect of Perugino. Only timidly, as an instant surge, suddenly an unexpected composite solution arises, unusual perugal. Suddenly, paints on the canvases begin to sound peculiar. And, despite the fact that his masterpieces of this period are imitate, you can not move aside and not to realize what they did their immortal master. First of all, it is "", "", "". All this completes the created monumental canvas "" in the city of Chivita - Castellin.

This is how his last bow to the teacher. Raphael It goes to a big life.

In 1504, he comes to Florence, where the center of Italian art focused, where a high revival was born and rose.

The first thing that saw a young Raphael, stepping on the land of Florence, was the majestic statue of the biblical hero David on Signoria Square. This sculpture Michelangelo could not not stun Raphael, could not leave the imprint in his impressionable imagination.

At this time, the Great Leonardo worked in Florence. Just then, the whole Florence with the fading of the Spirit followed the match of Titans - Leonardo and Michelangelo. They worked on battle compositions for the Hall of the Council of the Palace of Signory. Leonardo painted was to depict the battle of Florentine with Milanians with Angiari in 1440. And Michelangelo wrote the battle of Florentines with the Pisans in 1364.

Already in 1505, Florentine had the opportunity to evaluate both cards issued together.

Poetic, Great Leonardo and Raw, with a dazzling passion for painting Michelangelo! Real Titanium Battle of Elements. Young Rafael It is necessary to get out of the fire of this battle are not laid, remaining yourself.

In Florence, Rafael seizes with all the amount of knowledge that the artist needs is to climb into the closure with these titans.

He studies anatomy, perspective, mathematics, geometry. Everything is more clear and clearer, his search for a beautiful in man, his worship of a person, is developing a monumental handwriting, his skill becomes virtuoso.

In four years, he has turned into a real master who has been confidently who speaks all the school secrets of the school with all the necessary for work.

In 1508, twenty-five Santi He arrives at the invitation of Pope Julia II in Rome. He is entrusted with painting in the Vatican. First of all, it was necessary to make frescoes in the signature hall, which was given to Julia II under the library and the office. Murals were supposed to reflect the various sides of human spiritual activity - in science, philosophy, theology, art.

Here, he is not only a painter in front of us, but the artist is a philosopher who daring to rise to huge generalizations.

The signature hall - Della Senyatura Machina - reunited the ideas of the era about the strength of the human mind, about the strength of poetry, about the legality, about humanity. In living scenes, I encountered the artist philosophical ideas.

In historical - allegorical groups Santi Revives the images of Plato, Aristotle, Diogen, Socrates, Euclide, Ptolemy. Monumental works demanded from the master of knowledge of the most complex painting techniques - frescoes, mathematical calculation and steel hand. It was truly titanic work!

In their stans (rooms) Rafael It was possible to find an unprecedented synthesis of painting and architecture. The fact is that the interiors of the Vatican were very complex in design. In front of the artist, there were almost impossible composition problems in difficulty. But Santi came out of this test winner.

Machines are masterpieces not only on the plastic solution of figures, characteristics of images, color. In these frescoes of the viewer striking the greatness of architectural ensembles created by the painter brush created by his dream of beautiful.

In one of the frescoes of the signature hall among philosophers and enlighteners, as it were, the participant of this high dispute is present and Rafael Santia. A pensive young man looks at us. Large, beautiful eyes, deep look. He saw everything: and joy and grief - and better than others felt the beauty that left people left.

Raphael He was a magnificent portrait of all times and peoples. Images of his contemporaries pope Julia II., Baltasar Castiglione, portraits of Cardinals They draw us proud, wise and strong spirit of the people of the Renaissance era. Plastic, flavor, the sharpness of the characteristics of images on these canvases is shook.

In general, for its short thirty-semichentive life, the master created a lot of unsurpassed, unique picturesque canvases. But still the most importantly, inspired Madonns remain, which are characterized by special mysterious beauty. They walked together and beauty, and kindness, and truth.

Picture " Holy Family. Madonna with Bezboro Joseph"Or", written in the twenty-year-old age, is a kind of creative "exercise" of the artist who has solved the task of building an ideally concerted composition in all its parts.

Her center is marked by a baby's figure. The beam of light directed directly to it, it, the lightest spot in the picture, immediately draws the attention of the viewer. Truly remarkable those perseverance and purposefulness with which Santi Consistently achieves the impression of the internal relationship between the characters and their spatial environment. The baby is sitting on the lap of Mary, but his look turned towards Joseph - the usual for Raphael Composite reception with which it is possible to strengthen the connection with each other located near the figures not only visually, but also emotionally. Pure picturesque techniques work on the same purpose. So, planned in the outlines of the Numeric Mary's sleeves, smelly parabolic lines find the szvuk and in the abis of the infant figures, and in the movement of the folds of Joseph.

Madonna with a baby - one of the leitmotifs in art Raphael: Only in four years of stay in Florence, he wrote at least one and a half dozen paintings, varying this story. The Mother of God is sometimes sits with a baby in her arms, sometimes plays with him or just thinking about something, looking at his son. Sometimes a little John the Baptist is added to them.

So, "", written in 1512 - 1513, received the highest recognition. The mother holds the child's hands and carries it to us, in our world. The holy mystery happened - a man was born. Now in front of him life. The evangelical story is only an excuse for solving through a complex allegory of an eternal idea. Life for the human being entering it is not only joy, but also a quest, falls, upshots, suffering.

A woman carries a son in a cold and terrible, full of accomplishments and joy of peace. She is a mother, she sicks the fate of her son, everything is prepared for him. She sees his future, so in her eyes - horror, horror before inevitable, and grief, and fear for her baby.

And yet it does not stop the earthly threshold, it crosses it.

The baby's face is all striking. Looking into the baby's eyes, unusually bright, brilliant, almost frightening viewers, then the impression is affected not only the Terrible, but something wild and "obsessed" with a meaningful look. This is God, and, like God, he is also dedicated to the secret of his future, he also knows that he is waiting for him in this world, which opened the curtain. He pressed toward her mother, but not looking for her defense, but as if he says goodbye to her, just enhancing this world and taking the gravity of the test.

In the weight of Madonna. But even a moment - and she stops on the ground. She stretches the most expensive people - her son, a new man. Take it, people, he is ready for you to accept mortal flour. This is the main idea that the artist expressed in painting.

It is this idea that wakes good feelings in the auditor, connects Santi With the names of the first, it assumes it as an artist for an inaccessible height.

In the middle of the XVIII century, the Benedictine sold " Sicstinian Madonna"Kurfurhur Friedrich - August II, in 1754 she was in the meeting of the Dresden National Gallery. " Sistine Madonna"It became the subject of worship of all mankind. She was called the greatest and immortal picture of the world.

The image of pure beauty can be seen in the portrait "". "" Was written by the artist during his stay in Florence. Created by the image of a young beautiful girl full of charm and virgin purity. This impression is also connected with the mysterious animal, peaceful lying on her knees - unicorn, symbol of purity, female indispensability and chastity.

For a long time " Lady with a unicorn"They attributed to Perugino, then Titian. And only in the 1930s, the authorship of Raphael was opened and confirmed. It was found that the artist was initially depicted a lady with a dog, then his knees had a mythical creature - a unicorn.

Beautiful stranger depicted RafaelIt seems "deities", "shrine". She stays in limitless harmony with the world that surrounds it.

This work Raphael as if a kind of dialogue of the genius of the Renaissance with Leonardo da Vinci , I just created my famous " Monu Lesu"Who managed to produce a deep impression on a young artist.

Using Leonardo's lessons, Madonne Master follows the teacher. It places its model in the space on the balcony and on the background of the landscape, dividing the plane to different zones. The portrait of the model depicted is a dialogue with the viewer, creating a new imagery and opening its other, not a common inner world.

Colorist solution in the portrait also plays a huge role. A colorful and bright palette, built on gradations of light and clean flowers, gives a scenery of clear transparency, imperceptibly shrouded light misty haze. All this emphasizes the integrity and purity of the landscape on his background of the ladies.

Fresco to the wood paints " Transfiguration"That Rafael began writing in 1518 by order of Cardinal Julio Medici for the Cathedral of Narbonne, can be perceived as an artist's artistic commandment.

The canvas is divided into two parts. The top of the transformation is presented at the top of the top. The Savior With Abrehensive Hands, in fluttering righteous clothes, ferried against the background of illuminated by the glitter of his own radiation shine. On both sides of him, also soaring in the air, Moses and Elijah - elders; The first, as already noted, with the srices in the hands. The top of the mountain in various poses are blinded by the apostles: they cover their faces with their hands, unable to endure the light emanating from Christ. On the left of the mountain, two foreign witnesses of the concession miracle, one of them is rosary. Their presence does not find an excuse in the gospel story and it was, apparently, dictated by some kind of unknown considerations of the artist.

The feeling of a miracle and grace of the Favorsky light in the picture is not. But there is a feeling of emotional oversaturation of people, which overlaps the wonderful phenomenon itself.

In the lower half of the picture at the foot of the mountain Santi Two lively groups of people portrayed: On the left - the rest of the nine apostles, on the right - the crowd of Jews, in which the cranked woman and a Jew, who supports the anent boy, the strengths of which, who faced the look and open mouth, are visible, the latter's tricks of the look and physical suffering. The crowd begins the apostles to cure the launched. The apostles are in amazement look at him, unforgettable his fate; Some of them point to Christ.

If you look at the face of Christ, which Raphael I wrote on the eve of my death, and compare it with the "" artist, you can find some similarity.

Rafael Santia "The great artist with a cheerful and good temper died unexpectedly spring in the evening, in his thirty-semilene. He left this world full of divine beauty after a short illness on April 6, 1520 in his workshop. It seemed that art had died with the great and revered artist. According to Rafael Santi's will, he was buried among the great people of Italy in Pantheon.