What pictures did Raphael Santi paint. Childhood and adolescence

Rafael Santi - Italian painter, graphic artist and architect, representative of the Umbrian school.

In 1500 he moved to Perugia and entered the Perugino studio to study painting. At the same time, Raphael performed the first independent works: the skills and abilities taken over from the father affected. The most successful of his early works- "Madonna Conestabile" (1502-1503), "The Knight's Dream", "Saint George" (both 1504)

Feeling like an accomplished artist, Raphael left his teacher in 1504 and moved to Florence. Here he worked hard to create the image of the Madonna, to whom he dedicated no less than ten works (Madonna with the Goldfinch, 1506-1507; Entombment, 1507, etc.).

At the end of 1508, Pope Julius II invited Raphael to move to Rome, where the artist spent the final period of his short life. At the Pope's court, he received the position of "artist of the Apostolic See". The main place in his work is now occupied by the murals of the ceremonial chambers (stanzas) of the Vatican Palace.

In Rome, Raphael achieved perfection as a portrait painter and acquired the opportunity to realize his talent as an architect: from 1514 he supervised the construction of St. Peter's Cathedral.

In 1515 he was appointed commissioner for antiquities, which meant the study and protection antique monuments and control of excavations.

Raphael (actually Raphael Santi), one of the greatest painters modern time, was born on April 6, 1483 in Urbino. First art education received from his father, the painter Giovanni Santi, and after his death in 1494 continued with the Umbrian painter P. Perugino. The first paintings by Raphael belong to the time of his stay with Perugino. They all bear the general character of the gentle and deep religious reverie of the Umbrian school. But already in "The Betrothal of the Virgin Mary" (Sposalizio), written at the end of this period, the features of Raphael's personality, beginning to form, shine through through this character.

Raphael. The betrothal of the Virgin Mary. 1504

Raphael's Florentine period

With the arrival of Raphael from quiet Umbria to Florence, in 1504, the second period of his artistic activity begins. The works of Michelangelo, Leonardo da Vinci and Fra Bartolomeo, Florence itself - the center of everything graceful and beautiful - all this had a strong influence on artistic development Raphael, Surprised by the strength of Michelangelo, he, however, joined Leonardo da Vinci and Fra Bartolomeo and devoted himself zealously to the study of the old Florentines. Subtle feeling and faithful transmission mental movements, the charm of the figures and the play of tones that distinguish the paintings of Leonardo da Vinci, the reverent expression and skillful arrangement of the groups, the knowledge and depth of impression that are inherent in Fra Bartolomeo, were reflected in the works of Raphael of this period, but did not deprive them of their clearly already emerging individuality. Often submitting to other people's influences, Raphael always took only what was related and useful to him, being able to maintain a sense of proportion.

Raphael. Three Graces. 1504-1505

Raphael's Florentine period begins with the allegorical paintings The Three Graces and The Knight's Dream.

Raphael. Allegory (Knight's Dream). OK. 1504

This time also includes the famous panels on the theme of the battles of St. Michael and St. George with the dragon, the paintings "Christ Blessing" and "St. Catherine of Alexandria"

Raphael. Saint Catherine of Alexandria. 1508

Raphael Madonna

But in general, the time spent by Raphael in Florence is the era of the Madonnas for the most part: "Madonna with a Goldfinch", "Madonna of the House of Tempi", "Madonna of the House of Colonna", "Madonna del Baldahino", "Madonna of Granduca", "Madonna of Canigiani", " Madonna Terranuova "," Madonna in greenery ", the so-called" The Beautiful Gardener "and the excellent dramatic composition" The Position of Christ in the Tomb "are the main works of Raphael during this period.

Raphael. Madonna in greenery, 1506

Here in Florence, Raphael takes up portraits and paints the portraits of Agnolo and Maddalena Doni.

Raphael. Portrait of Agnolo Doni. 1506

The Roman period of Raphael

Harmoniously merging all influences together and putting them into practice, Raphael gradually moves forward and reaches his highest perfection in the third period of his activity during his stay in Rome. By order of Bramante, in 1508 Raphael Santi was summoned to Rome by Pope Julius II to decorate some of the Vatican halls with frescoes. The daunting tasks presented to Raphael instilled in him consciousness own forces; the proximity of Michelangelo, who simultaneously began painting the Sistine Chapel, aroused noble competition in him, and the world of classical antiquity, revealed in Rome more than anywhere else, informed his activities of a sublime direction and gave plastic completeness and clarity for the expression of artistic ideas.

Painting by Raphael in Stanza della Señatura

Three chambers (stanza) and one large hall of the Vatican are covered on the vaults and walls with frescoes by Raphael, and therefore are called "Raphael's stations". In the first chamber (Stanza della Segnatura - della Segnatura) Raphael depicted the spiritual life of people in its higher directions. Theology, philosophy, jurisprudence and poetry float in the form of allegorical figures on the ceiling and serve as titles to four large compositions on the walls. Under the figure of Theology on the wall is the so-called "La Disputa" - the dispute about St. the Eucharist - and opposite it is the so-called "School of Athens". On the first composition, representatives of Christian wisdom are gathered in groups, on the second - pagan, and thus the Italian Renaissance is characteristically reflected. In Spore, the action takes place simultaneously on earth and in heaven. In heaven sits Christ among the Mother of God and John the Baptist, somewhat below his apostles, prophets and martyrs; above Christ - God the Father with power, surrounded by angels, below Christ - the Holy Spirit in the form of a dove. On the ground in the center of the picture is an altar prepared for the offering of a bloodless sacrifice, and around it are the church fathers, religious teachers and ordinary believers in several lively groups. Everything is calm in the sky; here on earth everything is full of excitement and struggle. The four Gospels carried by angels serve as mediators between earth and heaven.

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

The scene of the School of Athens is an antique portico decorated with statues. In the middle there are two great thinkers: the idealist Plato, directing his hand and thought to the sky, and the realist Aristotle looking at the earth. They are surrounded by attentive listeners. Below the figure of Jurisprudence, on the wall cut by the window, are placed above, above the window, three figures, personifying prudence, strength and moderation, and on the sides of the window is the Emperor Justinian, who receives pandects from the kneeling Tribonian, on the right is Pope Gregory VII, presenting decrees to the lawyer ...

Raphael. School of Athens, 1509

Opposite this fresco, under the figure of poetry, is Parnassus, which brings together the great ancient and new poets.

Painting by Raphael in Stanza di Eliodoro

In the second chamber (di Eliodoro), on the walls, with strong dramatic inspiration, the "Expulsion of Iliodor from the Temple", "The Miracle in Bolsene", "The Liberation of the Apostle Peter from Dungeon" and "Attila, Stopped during the Attack on Rome by the Admonitions of Pope Leo I and the terrible manifestation of the apostles Peter and Paul. "

Raphael. The expulsion of Iliodorus from the Temple, 1511-1512

These works represent divine intercession that protects the church from external and internal enemies. It was the first time Rafael resorted to the help of his beloved student, Giulio Romano, when scribbling this room.

Raphael. Meeting of Pope Leo I and Attila, 1514

Painting by Raphael in Stanza dell Inchendio

The third chamber (dell "Incendio) is decorated with four wall frescoes depicting the fire in Borgo, stopped by the word of the pope, the victory over the Saracens at Ostia, the oath of Leo III and the coronation of Charlemagne. Only the first of them undoubtedly belongs to Raphael, the rest were written by his students after his cardboard, which sometimes Raphael did not have time to give the final finish.

Raphael painting in the Hall of Constantine

In the adjoining Hall of Constantine, finally, next to other scenes from the life of Constantine the Great, the champion of the church and the founder of its secular power, Raphael created a powerful image of the battle of Constantine - one of the majestic battle paintings of the new art, although it was made mostly Giulio Romano.

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

Raphael painting in the Vatican Loggias

Without finishing the stanzas yet, Raphael had to start decorating Vatican loggias – open galleries surrounding the courtyard of St. Damas on three sides. For the loggias, Raphael performed 52 sketches for scenes from the Old and New Testaments, known as the Raphael Bible. If you compare this Bible with biblical paintings Michelangelo in the Sistine Chapel, then the whole opposition between the gloomy tragedian and lyricist Michelangelo and the calm epic Raphael, who prefers the gratifying, idyllic, graceful, clearly emerges.

Tapestries for the Sistine Chapel

The third extensive work of Raphael in Rome was the cardboards with scenes from the Acts of the Apostles for 10 tapestries in The sistine chapel commissioned by Pope Leo X. In them, Raphael is one of the greatest masters historical painting. At the same time, Raphael painted the Triumph of Galatea in Villa Farnezine and made sketches from the history of Psyche for the gallery of the same villa, managing to draw up drawings for dishes and boxes of incense at the request of the Pope.

Raphael's life in Rome

In 1514, Leo X appointed Raphael as the chief observer of the work on the construction of St. Peter's Cathedral, and in 1515 - the overseer of ancient monuments extracted from excavations in Rome. And Raphael still found time to complete a number of excellent portraits and large paintings, In this Roman period he created among other things; portraits of Julius II and Leo X; Madonnas: "With a veil", "della Sedia", "di Foligno", "from the house of Alba" and the most perfect of the Madonnas - "Sistine"; "Saint Cecilia", "Carrying of the Cross" (Lo Spasimo di Sicilia) and the unfinished after the death of the artist "Transfiguration". But even now, among the many works, at the top of his fame, Raphael also diligently prepared for each picture, carefully thinking over numerous sketches. And with all that, Raphael in recent years has been involved in architecture a lot: according to his plans, several churches, palaces, villas were built, but for the Cathedral of St. He managed to do a little Peter, In addition, he made drawings for sculptors, and he himself was not alien to sculpture: Raphael owns a marble sculpture of a child on a dolphin in the St. Petersburg Hermitage. Finally, Raphael was carried away by the idea of ​​restoring ancient Rome.

Raphael. Sistine Madonna, 1513-1514

Overwhelmed with work since 1515, Raphael did not have a moment of rest, He did not need money, not having time to spend his earnings. Leo X made him his chamberlain and knight of the golden spur. Raphael had ties of friendship with many of the best representatives of Roman society. When he left the house, he was surrounded by a crowd of about 50 of his students, who caught every word of their beloved teacher. Influenced by Raphael's peaceful, non-envy and ill-will character, this crowd constituted friendly family without envy and quarrels.

Death of Raphael

April 6, 1520 Raphael died at the age of 37 from a fever, which he seized during excavations; it was fatal to his body, exhausted by the extraordinary tension. Raphael was not married, but was betrothed to the niece of Cardinal Bibbiena. According to Vasari, until his death, Raphael was ardently attached to his beloved Fornarina, the daughter of a baker, and her features seem to have formed the basis of the face of the Sistine Madonna. early death Raphael had an immoral life, appeared later and was not based on anything. Contemporaries speak with deep respect for the moral warehouse of Raphael, Raphael's body was buried in the Pantheon. In 1838, due to doubts arose, the tomb was opened, and the remains of Raphael were found intact.

Features of Raphael's creativity

In the work of Rafael Santi, the inexhaustible creative imagination of the artist strikes first of all, the likes of which in such perfection we do not meet with anyone else. The index of individual paintings and drawings by Raphael contains 1225 numbers; in all this mass of his works, nothing superfluous can be found, everything breathes with simplicity and clarity, and here, as in a mirror, the whole world is reflected in its diversity. Even his madonna the highest degree different: from one artistic idea- images of a young mother with a child - Raphael managed to extract so many perfect images in which she can appear, Another distinctive feature creativity of Raphael - a combination in a wonderful harmony of all spiritual gifts. Raphael has nothing predominant, everything is combined in an extraordinary balance, in perfect beauty. The depth and power of the concept, the relaxed symmetry and completeness of the compositions, the wonderful distribution of light and shadow, the truthfulness of life and character, the beauty of color, understanding of the naked body and drapery - everything is harmoniously combined in his work. This versatile and harmonious idealism of the artist of the Renaissance, having absorbed almost all currents, did not obey them in its creative power, but created its own original, clothed it in perfect forms, merging the Christian piety of the Middle Ages and the breadth of the new man's outlook with the realism and plasticity of Greco -the Roman world. Of the large crowd of his disciples, few rose above mere imitation. Giulio Romano, who took a significant part in the work of Raphael and graduated from The Transfiguration, was best student Raphael.

Raphael. Transfiguration, 1518-1520

The life and work of Raphael Santi is described in the book by Giorgio Vasari "Biographies of the most famous painters, sculptors and architects" ("Vite de" più eccellenti architetti, pittori e scultori "), 1568.

All of Raphael's paintings are a vivid reflection of his delicate nature. WITH early years he was endowed with a seasoned industriousness and a desire for spiritual and pure beauty. Therefore, in his works he tirelessly conveyed the enchanting forms of lofty designs. Perhaps that is why under the brush of the master was born such great amount works that convey the perfection of the surrounding world and its ideals. Probably none of the artists of the Renaissance so skillfully and deeply animated the subjects of their paintings. Recall at least a real masterpiece of art of that time " Sistine Madonna". Unshakably and desirable, the image of a unique, wonderful vision appears in front of the viewer. It seems to descend from the bluish depths of the heavens and envelop those around them with its majestic and noble golden radiance. Maria descends solemnly and boldly, holding her baby in her arms. Such paintings by Raphael are a vivid reflection of his sublime feelings and pure sincere emotions. Monumental forms, clear silhouettes, balanced composition - this is the whole author, his aspirations for high ideals and perfection.

On his canvases, the master fell in love again with female beauty, graceful grandeur and gentle charm of heroines. No wonder he has at least two of his works " Three Graces" and " Cupid and Graces»Dedicated beautiful goddesses Roman mythology - the ancient Greek charites. Their soft shapes and rich lines embodied the most joyful, kind and light beginning of all life. Raphael tirelessly drew inspiration from them. Purposefully, he portrayed the goddesses naked in order to bring each viewer closer to the virgin and gentle nature. high art... Perhaps that is why the rest of the artist's works clearly reflect the divine power, sensual beauty, inextricably linked with the ideals of the surrounding world.

Text: Ksusha Kors

Biography

Epoch High Renaissance in Italy gave the world great artists: Leonardo da Vinci, Michelangelo, Raphael, Titian. Each of them embodied the spirit and ideals of the era in his work. In the work of Leonardo, cognitive purposefulness was vividly reflected, in the works of Michelangelo - the pathos and drama of the struggle for great perfection, in Titian - cheerful free-thinking, Raphael sings the feelings of beauty and harmony.

Raphael (more precisely Rafaello Santi) was born April 6, 1483(according to other sources, March 28, 1483) in the family of the court painter and poet, Duke of Urbino Giovanni Santi in the city of Urbino. Raphael's father was an educated man and it was he who instilled in his son a love of art. And Raphael received his first painting lessons from his father.

When Raphael was 8 years old, his mother died, and at the age of 11 after the death of his father, he was left an orphan.

The city of Urbino, where Raphael was born and raised, was brilliant in the middle of the fifteenth art center, a hotbed of humanistic culture in Italy. The young artist could get acquainted with wonderful works of art in the churches and palaces of Urbino, and the beneficial atmosphere of beauty and art awakened imagination, dreams, and brought up artistic taste. Biographers and researchers of Raphael's work suggest that for the next 5-6 years he studied painting with the mediocre Urbino masters Evangelista di Pianndimeleto and Timoteo Viti.

V 1500 Rafael Santi moved to Perugia to continue his education in the workshop of the largest Umbrian painter, Pietro Perugino (Vannucci). Perugino's artistic manner, contemplative and lyrical, was close. The first artistic compositions were performed by Raphael at the age of 17-19 " Three Graces», « Knight's dream"And the famous" Madonna Conestabile". The theme of the Madonna is especially close to the lyrical talent of Raphael, and it is no coincidence that it will remain one of the main in his work.

Raphael's Madonnas, as a rule, are depicted against the background of landscapes, their faces breathe calmness and love.

In the Perugia period, the painter creates the first monumental composition for the church - “ Mary's betrothal", Marking new stage in his work. V 1504 year Raphael moves to Florence. In Florence, he lived for four years, occasionally leaving for Urbino, Perugia, Bologna. In Florence, the artist joins artistic ideals Renaissance art, gets acquainted with the works of antiquity. At the same time, Leonardo da Vinci and Michelangelo worked in Florence, creating cardboards for battle scenes in the Palazzo Vecchu.

Raphael examines antique art, makes sketches from the works of Donatello, from compositions by Leonardo and Michelangelo. He draws a lot from life, depicts models naked, achieves the correct transfer of the structure of the body, its movement, plasticity. At the same time he studies the laws of monumental composition.

The style of Raphael's painting is changing: in it, plastic is more strongly expressed, forms are more generalized, compositions are simpler and more rigorous. During this period of his work, the image of the Madonna becomes the main one. The fragile, dreamy Umbrian Madonnas were replaced by the images of more earthly, full-blooded, their inner world became more complex and emotionally rich.

Compositions depicting Madonnas and babies brought fame and popularity to Raphael: “ Madonna del Granduca"(1505)," Madonna Tempi"(1508)," Orleans madonna», « Madonna Column". The artist finds new nuances in each picture based on this plot, artistic fantasies make them completely different, the images acquire greater freedom and movement. The landscapes surrounding the Mother of God are a world of serenity and idyll. This period of the painter, " artist madonnas"- the flowering of his lyrical talent.

The Florentine period of Raphael's creativity ends with the monumental canvas " The position in the coffin”(1507) and marks his transition to the monumental-heroic generalized style.

In autumn 1508 year Raphael moves to Rome. At that time, at the invitation of Pope Julius II, the best architects, sculptors, painters from all over Italy came to Rome. Scientists - humanists gathered around the papal court. Popes, powerful spiritual and secular rulers collected works of art, patronized science and arts. In Rome, Raphael becomes a great master monumental painting.

Pope Julius II commissioned Raphael to decorate the papal chambers in the Vatican Palace with paintings, the so-called stanzas (rooms). Raphael worked on the frescoes of the stations for nine years - from 1508 to 1517... Raphael's frescoes became the embodiment of the humanistic dream of rebirth about the spiritual and physical perfection of man, his high vocation and his creative possibilities... The themes of the frescoes that form a single cycle are the personification and glorification of Truth (Vero), Good, Good (Bene), Beauty, Beauty (Bello). At the same time, these are, as it were, three interrelated spheres of human activity - intellectual, moral and aesthetic.

Fresco theme « Dispute» (« Dispute») Affirmation of the triumph of the highest truth (the truth of religious revelation), the sacrament. On the opposite wall is the finest fresco of the Vatican stanzas, greatest creation Raphael " School of athens». « School of athens"Symbolizes the rational search for truth by philosophy and science. V " Athens school»The painter depicted a collection of ancient thinkers and scientists.

Third fresco by Stanza della Senyatura " Parnassus"- the embodiment of the idea of ​​Bello - Beauty, Beauty. This fresco depicts Apollo surrounded by muses, playing the viola with inspiration, below are famous and unnamed poets, playwrights, prose writers, mostly antique (Homer, Sappho, Alkey, Virgil, Dante, Petrarch ...). Allegorical scene opposite " Parnassus”, Glorifies (Bene) Good, Good. This idea is personified by the figures of Wisdom, Measure and Power, rhythmically united by the figures of little geniuses. Three of which symbolize virtues - Faith, Hope, Mercy.

Raphael was engaged in monumental painting before recent years life. The surviving drawings of Raphael vividly reveal the originality creative method artist, preparation and implementation main task works. the main objective- this is the creation of a composition that is holistic and complete.

During the years of his work in Rome, Raphael received many orders for the execution of portraits. The portraits created by him are simple, strict in composition, the main, the most significant, inimitable stands out in the person's appearance: “ Portrait of the cardinal», « Portrait of the writer Baldassare Castiglione"(Friend of Raphael) ...

And in easel painting Raphael's theme remains the Madonna plot: “ Madonna Alba"(1509)," Madonna in the chair"(1514-1515), altar paintings -" Madonna di Foligno"(1511-1512)," St. Cecilia"(1514).

The greatest creation of Raphael's easel painting " Sistine Madonna"(1513-1514). Royally - the stately human intercessor descends to earth. Madonna hugs the little Christ to her, but her embraces are ambiguous: they contain both love and parting - she gives him to people for suffering and torment. Madonna is moving and motionless. She remains in her sublime perfect world and goes to the earthly world. Mary always brings her son to people - an embodiment, a symbol of the highest humanity, beauty and greatness of the sacrificial maternal love... Raphael created the image of the Mother of God, understandable to everyone.

The last years of Raphael's life were devoted to various fields of activity. V 1514 year he was appointed to supervise the construction of St.Peter's Cathedral, supervised the progress of all construction and renovation works at the Vatican. He created architectural projects for the Church of Sant Eligio degli Orefici (1509), Palazzo Pandolfini in Florence, Villa Madama.

V 1515-1516 years, together with his students, he created cardboards for carpets intended for decoration in holidays Sistine Chapel.

The last piece is “ Transformation"(1518-1520) - performed with significant participation of students and was completed by them after the death of the master.

Raphael's painting reflected the style, aesthetics and worldview of the era, the High Renaissance. Raphael was born to express the ideals of the Renaissance, the dream of wonderful person and a wonderful world.

Raphael died at the age of 37, April 6, 1520. great artist buried with all honors in the Pantheon. Raphael remained the pride of Italy and all mankind for centuries.

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

Introduction

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

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

Short biography of Raphael Santi

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

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

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

Raphael's creativity

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

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

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

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

Florentine period

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

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

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

Roman period

In 1508, Raphael came to Rome and lived there until the end of his days. Friendship with Donato Bramante, chief architect of the Vatican, provided him with a warm welcome at the court of Pope Julius II. Almost immediately after the move, Raphael began large-scale work on the frescoes for Stanza della Segnatura. The compositions that adorn the walls of the papal study are still considered the ideal of monumental painting. The frescoes, among which the "School of Athens" and "Controversy about the Sacrament" occupy a special place, provided Raphael with well-deserved recognition and an endless stream of orders.

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

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

Raphael Madonna

During his rich career, Raphael created more than 30 canvases depicting Mary and baby Jesus. Raphael Santi's Madonnas are divided into Florentine and Roman.

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

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

Raphael's Stanzas

The monumental canvases that adorn the walls of the Papal Palace (now the Vatican Museum) are considered Raphael's greatest works. It is hard to believe that the artist finished work on Stanza della Segnatura in three and a half years. The frescoes, among which the magnificent "School of Athens", were painted in an extremely detailed and high quality manner. Judging by the drawings and preparatory sketches, working on them was an incredibly time-consuming process, which once again testifies to Raphael's hard work and artistic talent.

Four frescoes from Stanza della Segnatura depict the four spheres of a person's spiritual life: philosophy, theology, poetry and justice - the compositions "The School of Athens", "Controversy about the Sacrament", "Parnassus" and "Wisdom, Moderation and Strength" ("Worldly Virtues") ...

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

Raphael Santi: portraits

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

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

Another influential portrait by Raphael is "Portrait of Baldassare Castiglione", which was copied by Rubens and Rembrandt.

Architecture

The architectural style of Raphael underwent the quite expected influence of Bramante, which is why Raphael's short period as the chief architect of the Vatican and one of the most influential architects of Rome is so important for preserving the stylistic unity of buildings.

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

Raphael's hand owns the plan courtyard The Vatican City and the painted loggias overlooking it, as well as the round church Sant 'Eligio degli Orefici and one of the chapels in the church of Santa Maria del Poppolo.

Graphic works

Painting by Raphael Santi is not the only form of fine art in which the artist has achieved perfection. Most recently, one of his drawings ("The Head of a Young Prophet") was auctioned for £ 29 million, making it the most expensive drawing in the history of art.

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

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

Artistic heritage

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

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

All of Raphael's paintings are a vivid reflection of his delicate nature. From an early age, he was endowed with a seasoned hard work and pursuit of spiritual and pure beauty. Therefore, in his works he tirelessly conveyed the enchanting forms of lofty designs. Perhaps that is why such a huge number of works were born under the brush of the master that convey the perfection of the surrounding world and its ideals. Probably none of the artists of the Renaissance so skillfully and deeply animated the subjects of their paintings. Recall at least a real masterpiece of art of that time " Sistine Madonna". Unshakably and desirable, the image of a unique, wonderful vision appears in front of the viewer. It seems to descend from the bluish depths of the heavens and envelop those around them with its majestic and noble golden radiance. Maria descends solemnly and boldly, holding her baby in her arms. Such paintings by Raphael are a vivid reflection of his lofty feelings and pure, sincere emotions. Monumental forms, clear silhouettes, balanced composition - this is the whole author, his aspirations for high ideals and perfection.

On his canvases, the master again fell in love with female beauty, graceful grandeur and gentle charm of the heroines. No wonder he has at least two of his works " Three Graces" and " Cupid and Graces"Dedicated to the beautiful goddesses of Roman mythology - the ancient Greek charites. Their soft shapes and rich lines embodied the most joyful, kind and light beginning of all life. Raphael tirelessly drew inspiration from them. Purposefully, he portrayed the goddesses naked in order to bring each viewer closer to the virgin and delicate nature of high art. Perhaps that is why the rest of the artist's works clearly reflect the divine power, sensual beauty, inextricably linked with the ideals of the surrounding world.

Text: Ksusha Kors

Biography

The era of the High Renaissance in Italy gave the world great artists: Leonardo da Vinci, Michelangelo, Raphael, Titian. Each of them embodied the spirit and ideals of the era in his work. In the work of Leonardo, cognitive purposefulness was vividly reflected, in the works of Michelangelo - the pathos and drama of the struggle for great perfection, in Titian - cheerful free-thinking, Raphael sings the feelings of beauty and harmony.

Raphael (more precisely Rafaello Santi) was born April 6, 1483(according to other sources, March 28, 1483) in the family of the court painter and poet, Duke of Urbino Giovanni Santi in the city of Urbino. Raphael's father was an educated man and it was he who instilled in his son a love of art. And Raphael received his first painting lessons from his father.

When Raphael was 8 years old, his mother died, and at the age of 11 after the death of his father, he was left an orphan.

The city of Urbino, where Raphael was born and raised, in the middle of the 15th century is a brilliant artistic center, a center of the humanistic culture of Italy. The young artist could get acquainted with wonderful works of art in the churches and palaces of Urbino, and the beneficial atmosphere of beauty and art awakened imagination, dreams, and brought up artistic taste. Biographers and researchers of Raphael's work suggest that for the next 5-6 years he studied painting with the mediocre Urbino masters Evangelista di Pianndimeleto and Timoteo Viti.

V 1500 Rafael Santi moved to Perugia to continue his education in the workshop of the largest Umbrian painter, Pietro Perugino (Vannucci). Perugino's artistic manner, contemplative and lyrical, was close. The first artistic compositions were performed by Raphael at the age of 17-19 " Three Graces», « Knight's dream"And the famous" Madonna Conestabile". The theme of the Madonna is especially close to the lyrical talent of Raphael, and it is no coincidence that it will remain one of the main in his work.

Raphael's Madonnas, as a rule, are depicted against the background of landscapes, their faces breathe calmness and love.

In the Perugia period, the painter creates the first monumental composition for the church - “ Mary's betrothal", Marking a new stage in his work. V 1504 year Raphael moves to Florence. In Florence, he lived for four years, occasionally leaving for Urbino, Perugia, Bologna. In Florence, the artist becomes familiar with the artistic ideals of Renaissance art, gets acquainted with the works of antiquity. At the same time, Leonardo da Vinci and Michelangelo worked in Florence, creating cardboards for battle scenes in the Palazzo Vecchu.

Raphael studies ancient art, makes sketches from the works of Donatello, from compositions by Leonardo and Michelangelo. He draws a lot from life, depicts models naked, achieves the correct transfer of the structure of the body, its movement, plasticity. At the same time he studies the laws of monumental composition.

The style of Raphael's painting is changing: in it, plastic is more strongly expressed, forms are more generalized, compositions are simpler and more rigorous. During this period of his work, the image of the Madonna becomes the main one. The fragile, dreamy Umbrian Madonnas were replaced by images of more earthly, full-blooded ones, their inner world became more complex and emotionally rich.

Compositions depicting Madonnas and babies brought fame and popularity to Raphael: “ Madonna del Granduca"(1505)," Madonna Tempi"(1508)," Orleans madonna», « Madonna Column". The artist finds new nuances in each picture based on this plot, artistic fantasies make them completely different, the images acquire greater freedom and movement. The landscapes surrounding the Mother of God are a world of serenity and idyll. This period of the painter, " artist madonnas"- the flowering of his lyrical talent.

The Florentine period of Raphael's creativity ends with the monumental canvas " The position in the coffin”(1507) and marks his transition to the monumental-heroic generalized style.

In autumn 1508 year Raphael moves to Rome. At that time, at the invitation of Pope Julius II, the best architects, sculptors, painters from all over Italy came to Rome. Scientists - humanists gathered around the papal court. Popes, powerful spiritual and secular rulers collected works of art, patronized science and arts. In Rome, Raphael becomes a great master of monumental painting.

Pope Julius II commissioned Raphael to decorate the papal chambers in the Vatican Palace with paintings, the so-called stanzas (rooms). Raphael worked on the frescoes of the stations for nine years - from 1508 to 1517... Raphael's frescoes became the embodiment of the humanistic dream of rebirth about the spiritual and physical perfection of man, his high calling and his creative potential. The themes of the frescoes that form a single cycle are the personification and glorification of Truth (Vero), Good, Good (Bene), Beauty, Beauty (Bello). At the same time, these are, as it were, three interrelated spheres of human activity - intellectual, moral and aesthetic.

Fresco theme « Dispute» (« Dispute») Affirmation of the triumph of the highest truth (the truth of religious revelation), the sacrament. On the opposite wall is the best fresco of the Vatican stanzas, the greatest creation of Raphael " School of athens». « School of athens"Symbolizes the rational search for truth by philosophy and science. V " Athens school»The painter depicted a collection of ancient thinkers and scientists.

Third fresco by Stanza della Senyatura " Parnassus"- the embodiment of the idea of ​​Bello - Beauty, Beauty. This fresco depicts Apollo surrounded by muses, playing the viola with inspiration, below are famous and unnamed poets, playwrights, prose writers, mostly antique (Homer, Sappho, Alkey, Virgil, Dante, Petrarch ...). Allegorical scene opposite " Parnassus”, Glorifies (Bene) Good, Good. This idea is personified by the figures of Wisdom, Measure and Power, rhythmically united by the figures of little geniuses. Three of which symbolize virtues - Faith, Hope, Mercy.

Raphael was engaged in monumental painting until the last years of his life. The surviving drawings by Raphael vividly reveal the originality of the artist's creative method, the preparation and implementation of the main task of the work. The main goal is to create a complete and complete composition.

During the years of his work in Rome, Raphael received many orders for the execution of portraits. The portraits created by him are simple, strict in composition, the main, the most significant, inimitable stands out in the person's appearance: “ Portrait of the cardinal», « Portrait of the writer Baldassare Castiglione"(Friend of Raphael) ...

And in Raphael's easel painting, the theme with the Madonna remains the same theme: “ Madonna Alba"(1509)," Madonna in the chair"(1514-1515), altar paintings -" Madonna di Foligno"(1511-1512)," St. Cecilia"(1514).

The greatest creation of Raphael's easel painting " Sistine Madonna"(1513-1514). Royally - the stately human intercessor descends to earth. Madonna hugs the little Christ to her, but her embraces are ambiguous: they contain both love and parting - she gives him to people for suffering and torment. Madonna is moving and motionless. She remains in her sublime ideal world and goes to the earthly world. Mary always brings her son to people - the embodiment, the symbol of the highest humanity, beauty and greatness of sacrificial motherly love. Raphael created the image of the Mother of God, understandable to everyone.

The last years of Raphael's life were devoted to various fields of activity. V 1514 year he was appointed to lead the construction of St. Peter's Basilica, supervised the progress of all construction and repair work in the Vatican. He created architectural projects for the Church of Sant Eligio degli Orefici (1509), Palazzo Pandolfini in Florence, Villa Madama.

V 1515-1516 years, together with his students, he created carpets for carpets intended for decoration on the holidays of the Sistine Chapel.

The last piece is “ Transformation"(1518-1520) - performed with significant participation of students and was completed by them after the death of the master.

Raphael's painting reflected the style, aesthetics and worldview of the era, the High Renaissance. Raphael was born to express the ideals of the Renaissance, the dream of a wonderful person and a wonderful world.

Raphael died at the age of 37, April 6, 1520... The great artist is buried with all the honors in the Pantheon. Raphael remained the pride of Italy and all mankind for centuries.