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

Raphael, son of the painter Giovanni Santi, early years spent in Urbino. In 1500-1504, Raphael, according to Vasari, studied with the artist Perugino in Perugia.

From 1504, Raphael worked in Florence, where he became acquainted with the works of Leonardo da Vinci and Fra Bartolommeo, and studied anatomy and scientific perspective.
Moving to Florence played a huge role in Raphael's creative development. Of primary importance for the artist was familiarity with the method of the great Leonardo da Vinci.

Following Leonardo, Raphael begins to work a lot from life, studying anatomy, mechanics of movements, complex poses and angles, looking for compact, rhythmically balanced compositional formulas.
The numerous images of Madonnas he created in Florence brought the young artist all-Italian fame.
Raphael received an invitation from Pope Julius II to Rome, where he was able to become more familiar with ancient monuments and took part in archaeological excavations. Having moved to Rome, the 26-year-old master receives the position of “artist of the Apostolic See” and the commission to paint the state chambers Vatican Palace, from 1514 he directed the construction of St. Peter's Cathedral, worked in the field of church and palace architecture, in 1515 he was appointed Commissioner of Antiquities, responsible for the study and protection of ancient monuments, archaeological excavations. Fulfilling the pope's order, Raphael created murals in the halls of the Vatican, glorifying the ideals of freedom and earthly happiness of man, the limitlessness of his physical and spiritual capabilities.

The painting “Madonna Conestabile” by Rafael Santi was created by the artist at the age of twenty.

In this painting, the young artist Raphael created his first remarkable embodiment of the image of the Madonna, which occupied exclusively important place. The image of a young beautiful mother, generally so popular in Renaissance art, is especially close to Raphael, whose talent had a lot of softness and lyricism.

Unlike the 15th century masters in the painting young artist Raphael Santi, new qualities have emerged, when the harmonious compositional structure does not fetter the images, but, on the contrary, is perceived as necessary condition the feeling of naturalness and freedom that they generate.

Holy family 1507-1508. Alte Pinakothek, Munich.

Painting by artist Raphael Santi “The Holy Family” by Canigiani.

The customer of the work is Domenico Canigianini from Florence. In the painting "Holy Family" great painter Raphael Santi depicted the Renaissance era in the classical key of biblical history - holy family- The Virgin Mary, Joseph, the baby Jesus Christ along with Saint Elizabeth and the baby John the Baptist.

However, only in Rome did Raphael overcome the dryness and some stiffness of his early portraits. It was in Rome that Raphael's brilliant talent as a portrait painter reached maturity.

In Raphael's "Madonnas" of the Roman period, his idyllic mood early works is replaced by the recreation of deeper human, maternal feelings, as Mary, full of dignity and spiritual purity, appears as the intercessor of humanity in the very famous work Raphael - “Sistine Madonna”.

The painting “The Sistine Madonna” by Raphael Santi was originally created by the great painter as an altar image for the church of San Sisto (St. Sixtus) in Piacenza.

In the painting, the artist depicts the Virgin Mary with the Christ Child, Pope Sixtus II and Saint Barbara. The painting “The Sistine Madonna” is one of the most famous works of world art.

How was the image of the Madonna created? Was there a real prototype for it? In this regard, a number of things are associated with the Dresden painting ancient legends. Researchers find similarities in the Madonna's facial features with the model of one of Raphael's female portraits - the so-called “Lady in the Veil”. But in resolving this issue, first of all, one should take into account famous saying Raphael himself from a letter to his friend Baldassare Castiglione that in creating the image of perfect female beauty he is guided by a certain idea that arises on the basis of many impressions from the beauties the artist saw in life. In other words, basically creative method The painter Raphael Santi turns out to be a selection and synthesis of observations of reality.

In the last years of his life, Raphael was so overloaded with orders that he entrusted the execution of many of them to his students and assistants (Giulio Romano, Giovanni da Udine, Perino del Vaga, Francesco Penni and others), usually limiting himself to general supervision of the works.

Raphael had a huge influence on the subsequent development of Italian and European painting, becoming, along with the masters of antiquity, the highest example of artistic perfection. The art of Raphael, which had a huge influence on European painting The 16th-19th and, partly, 20th centuries, for centuries, retained the meaning of indisputable artistic authority and example for artists and viewers.

In the last years of his creative work, based on the artist’s drawings, his students created huge cardboards on biblical themes with episodes from the life of the apostles. Based on these cardboards, Brussels masters were supposed to create monumental tapestries, which were intended for decoration Sistine Chapel on holidays.

Paintings by Rafael Santi

The painting “Angel” by Raphael Santi was created by the artist at the age of 17-18 at the very beginning of the 16th century.

This gorgeous early work by the young artist is part or a fragment of the Baroncha altar, damaged by the earthquake of 1789. The altarpiece “Coronation of Blessed Nicholas of Tolentino, conqueror of Satan” was commissioned by Andrea Baronci for his home chapel in the church of San Agostinho in Citta de Castello. In addition to the fragment of the painting “Angel”, three more parts of the altar have been preserved: “The Most High Creator” and “ Blessed Virgin Mary” in the Capodimonte Museum (Naples) and another fragment “Angel” in the Louvre (Paris).

The painting “Madonna Granduca” was painted by the artist Rafael Santi after moving to Florence.

The numerous images of Madonnas created by the young artist in Florence (“Madonna of Granduca”, “Madonna of the Goldfinch”, “Madonna of the Greens”, “Madonna with the Child Christ and John the Baptist” or “The Beautiful Gardener” and others) brought Raphael Santi all-Italian fame.

The painting “The Dream of a Knight” was painted by the artist Rafael Santi in the early years of his work.

The painting is from Borghese’s legacy, probably paired with another work by the artist, “The Three Graces.” These paintings - "The Dream of a Knight" and "The Three Graces" - are almost miniature in composition size.

The theme of “The Knight’s Dream” is a unique refraction of the ancient myth of Hercules at the crossroads between the allegorical embodiments of Valor and Pleasure. Near the young knight, depicted sleeping against the backdrop of a beautiful landscape, stand two young women. One of them, in formal attire, offers him a sword and a book, the other a branch with flowers.

In the painting “The Three Graces” the compositional motif of three naked female figures apparently borrowed from an antique cameo. And although there is still a lot of uncertainty in these works of the artist (“The Three Graces” and “The Dream of a Knight”), they attract with their naive charm and poetic purity. Already here some features inherent in Raphael’s talent were revealed - the poetry of images, a sense of rhythm and the soft melodiousness of lines.

Battle of St. George with the Dragon 1504-1505. Louvre Museum, Paris.

The painting “The Battle of St. George with the Dragon” by Raphael Santi was painted by the artist in Florence, after he left Perugia.

“The Battle of St. George with the Dragon” is based on a biblical story popular in the Middle Ages and the Renaissance.

The altarpiece “Madonna of Ansidei” by Raphael Santi was painted by the artist in Florence; the young painter was not yet 25 years old.

Unicorn, a mythical animal with the body of a bull, horse or goat and one long straight horn on its forehead.

The unicorn is a symbol of purity and virginity. According to legend, only an innocent girl can tame the ferocious unicorn. The painting “Lady with a Unicorn” was painted by Rafael Santi based on a mythological plot popular during the Renaissance and mannerism, which many artists used in their paintings.

The painting “Lady with a Unicorn” was badly damaged in the past, but has now been partially restored.

Painting by Raphael Santi “Madonna in Greenery” or “Mary and Child with John the Baptist”.

In Florence, Raphael created the Madonna cycle, indicating the onset of a new stage in his work. Belonging to the most famous of them, “Madonna of the Greens” (Vienna, Museum), “Madonna with the Goldfinch” (Uffizi) and “Madonna of the Gardener” (Louvre) represent a kind of variants of a common motif - the image of a young beautiful mother with the child Christ and little John the Baptist against the backdrop of a landscape. These are also variations of the same theme - theme mother's love, bright and serene.

Altarpiece painting "Madonna di Foligno" by Raphael Santi.

In the 1510s, Raphael worked a lot in the field of altar composition. A number of his works of this kind, among which should be called the Madonna di Foligno, lead us to greatest creation his easel painting - “The Sistine Madonna”. This painting was created in 1515-1519 for the Church of St. Sixtus in Piacenza and is now in Dresden art gallery.

The painting "Madonna di Foligno" in its own way compositional construction similar to the famous “Sistine Madonna”, with the only difference that in the painting “Madonna di Foligno” there is more characters and the image of the Madonna is distinguished by a peculiar internal isolation - her gaze is occupied with her child - the infant Christ.

The painting “Madonna del Impannata” by Rafael Santi was created by the great painter almost at the same time as the famous “Sistine Madonna”.

In the painting, the artist depicts the Virgin Mary with the children Christ and John the Baptist, Saint Elizabeth and Saint Catherine. The painting “Madonna del Impannata” testifies to the further improvement of the artist’s style, to the complication of images in comparison with the soft lyrical images of his Florentine Madonnas.

The mid-1510s were the time when the best portrait works Raphael.

Castiglione, Count Baldassare (Castiglione; 1478-1526) - Italian diplomat and writer. Born near Mantua, he served at various Italian courts, was the ambassador of the Duke of Urbino in the 1500s for Henry VII of England, and from 1507 in France for King Louis XII. In 1525, already at a fairly advanced age, he was sent by the papal nuncio to Spain.

In this portrait, Raphael showed himself to be an outstanding colorist, able to sense color in its complex shades and tonal transitions. The portrait of the Lady in the Veil differs from the portrait of Baldassare Castiglione in its remarkable coloristic qualities.

Researchers of the artist Raphael Santi and historians of Renaissance painting find models of this in the features portrait of a woman Raphael's resemblance to the face of the Virgin Mary in his famous painting "The Sistine Madonna".

Joan of Aragon 1518 Louvre Museum, Paris.

The customer of the painting is Cardinal Bibbiena, writer and secretary to Pope Leo X; the painting was intended as a gift to the French king Francis I. The portrait was only begun by the artist, and it is not known for certain which of his students (Giulio Romano, Francesco Penni or Perino del Vaga) completed it.

Joanna of Aragon (? -1577) - daughter of the Neapolitan king Federigo (later deposed), wife of Ascanio, Prince Taliacosso, famous for her beauty.

The extraordinary beauty of Joan of Aragon was glorified by contemporary poets in a number of poetic dedications, the collection of which comprised an entire volume, published in Venice

The artist depicts in the painting classic version biblical chapter from the Revelation of John the Theologian or the Apocalypse.
“And there was war in heaven: Michael and his angels fought against the dragon, and the dragon and his angels fought against them, but they did not stand, and there was no longer a place for them in heaven. And the great dragon was cast out, that ancient serpent, called the devil and Satan, who deceives the whole world, he was cast out to the earth, and his angels were cast out with him...”

Frescoes by Raphael

The fresco by artist Raphael Santi “Adam and Eve” also has another name - “The Fall”.

The size of the fresco is 120 x 105 cm. Raphael painted the fresco “Adam and Eve” on the ceiling of the pontiff’s chambers.

Fresco by artist Rafael Santi " Athens school"has another name - "Philosophical Conversations." The size of the fresco, the length of the base is 770 cm. After moving to Rome in 1508, Raphael was entrusted with painting the pope's apartments - the so-called stanzas (that is, rooms), which include three rooms on the second floor of the Vatican Palace and the adjacent hall. The general ideological program of the fresco cycles in the stanzas, as conceived by the customers, was supposed to serve the glorification of authority catholic church and its head - the Roman high priest.

Along with allegorical and biblical images, individual frescoes depict episodes from the history of the papacy; some compositions include portrait images of Julius II and his successor Leo X.

The customer of the painting “The Triumph of Galatea” is Agostino Chigi, a banker from Siena; The fresco was painted by the artist in the banquet hall of the villa.

Raphael Santi's fresco "The Triumph of Galatea" depicts the beautiful Galatea swiftly moving through the waves on a shell drawn by dolphins, surrounded by newts and naiads.

In one of the first frescoes executed by Raphael, the Dispute, which depicts a conversation about the sacrament of the sacrament, cult motifs were most prominent. The symbol of communion itself - the host (wafer) - is installed on the altar in the center of the composition. The action takes place on two planes - on earth and in heaven. Below, on a stepped dais, the church fathers, popes, prelates, clergy, elders and youths were located on both sides of the altar.

Among other participants here you can recognize Dante, Savonarola, and the pious monk-painter Fra Beato Angelico. Above the entire mass of figures in the lower part of the fresco, like a heavenly vision, the personification of the Trinity appears: God the Father, below him, in a halo of golden rays, is Christ with the Mother of God and John the Baptist, even lower, as if marking the geometric center of the fresco, is a dove in sphere, a symbol of the holy spirit, and on the sides the apostles are seated on floating clouds. And all this huge number of figures, with such a complex compositional design, is distributed with such skill that the fresco leaves an impression of amazing clarity and beauty.

Prophet Isaiah 1511-1512. San Agostinho, Rome.

Raphael's fresco depicts the great biblical prophet of the Old Testament at the moment of revelation of the coming of the Messiah. Isaiah (9th century BC), Hebrew prophet, zealous champion of the religion of Yahweh and denouncer of idolatry. The biblical Book of the Prophet Isaiah bears his name.

One of the four great Old Testament prophets. For Christians, Isaiah’s prophecy about the Messiah (Immanuel; ch. 7, 9 - “...behold, the Virgin will be with child and give birth to a Son, and they will call his name Immanuel”) is of particular significance. The memory of the prophet is revered in Orthodox Church 9 (May 22), in Catholic - July 6.

Frescoes and latest paintings Raphael

Very strong impression produces the fresco “The Deliverance of the Apostle Peter from Prison,” which depicts the miraculous release of the Apostle Peter from prison by an angel (an allusion to the release of Pope Leo X from French captivity when he was papal legate).

On the ceiling lamps of the papal apartments - Stanza della Segnatura, Raphael painted the frescoes “The Fall”, “The Victory of Apollo over Marsyas”, “Astronomy” and a fresco on the famous Old Testament story “The Judgment of Solomon”.
It is difficult to find any other artistic ensemble, which would give the impression of such figurative richness in terms of ideological and visual-decorative design as Raphael’s Vatican stanzas. Walls covered with multi-figure frescoes, vaulted ceilings with rich gilded decor, with fresco and mosaic inserts, floor beautiful pattern- all this could create the impression of overload, if not for the inherent overall plan Raphael Santi has a high degree of orderliness, which brings the necessary clarity and visibility to this complex artistic complex.

Before recent years Rafael paid great attention to his life monumental painting. One of largest works The artist painted the Villa Farnesina, which belonged to the richest Roman banker Chigi.

In the early 1910s, Raphael painted the fresco “The Triumph of Galatea” in the main hall of this villa, which is one of his best works.

Myths about Princess Psyche tell about the desire of the human soul to merge with love. For her indescribable beauty, people revered Psyche more than Aphrodite. According to one version, a jealous goddess sent her son, the deity of love Cupid, to arouse in the girl a passion for the ugliest of people, however, when he saw the beauty, the young man lost his head and forgot about his mother’s order. Having become the husband of Psyche, he did not allow her to look at him. She, burning with curiosity, lit a lamp at night and looked at her husband, not noticing a hot drop of oil falling on his skin, and Cupid disappeared. In the end, by the will of Zeus, the lovers united. Apuleius in Metamorphoses retells the myth of romantic story Cupid and Psyche; the wanderings of the human soul, eager to meet its love.

The painting depicts Fornarina, the lover of Rafael Santi, whose real name is Margherita Luti. Fornarina's real name was established by researcher Antonio Valeri, who discovered it in a manuscript from a Florentine library and in a list of nuns of a monastery, where the novice was identified as the widow of the artist Raphael.

Fornarina - legendary lover and Raphael's model, whose real name is Margherita Luti. According to many Renaissance art critics and historians of the artist’s work, Fornarina is depicted on two famous paintings Rafael Santi - “Fornarina” and “The Veiled Lady”. It is also believed that Fornarina, in all likelihood, served as a model for the creation of the image of the Virgin Mary in the painting “ Sistine Madonna", as well as some others female images Raphael.

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

The painting was originally created as an altarpiece for the Cathedral of Narbonne, commissioned by Cardinal Giulio Medici, Bishop of Narbonne. The contradictions of the last years of Raphael’s work were most reflected in the huge altar composition “The Transfiguration of Christ” - it was completed after Raphael’s death by Giulio Romano.

This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was done by Raphael himself. Below are the apostles trying to heal a possessed boy

It was Raphael Santi’s altar painting “The Transfiguration of Christ” that became an indisputable model for academic painters for centuries.
Raphael died in 1520. His premature death was unexpected and made a deep impression on his contemporaries.

Raphael Santi deservedly ranks among the greatest masters of the High Renaissance.

Raphael Santi was born in the city of Urbino in 1483, on April 6. His interest in painting began quite early. His father Giovanni Santi worked as a court painter for the Duke of Urbino, Federigo da Montefeltro. During the time that Raphael was with his father, he had the opportunity to study the basics of painting. At the age of 8, Rafael lost his mother, and at 11, his father. Thanks to the care of his stepmother and the sufficient amount of money that remained after his father’s death, the master never struggled for his decent existence. In addition, he was friends with the Italian masters of that time. Through these connections, Rafael was able to become quite successful in his career quite early on.

His father, while he was still alive, apparently managed to provide training for young master. In 1500, Raphael became a student of Pietro Perugino, who was a successful artist in the city of Perugia. Within four years, Raphael had mastered Perugino's technique so well that it became almost impossible to distinguish between their works. By December of the same year, Raphael had earned the title of master from some quarters. His first famous work there was an altarpiece for a church that was halfway between the city of his birth and Perugia. He was assisted by his senior comrade Evangelista Pian di Meleto. The artist worked on many other projects with Raphael's father. The young master continued to work as an assistant to Perugino until he moved to Florence.

In Florence it became obvious to him that his style needed some changes, given the latest innovative styles of Leonardo da Vinci and Michelangelo. However, the artist who influenced him most undoubtedly remained the same. His influence can be seen in Raphael's painting The Sistine Madonna. However, although he adopted the styles different masters that time, he continued to use his own unique style. A work in which one could already see more of the style characteristic of Raphael - “The Beautiful Gardener” (La Belle Jardinire) or “Madonna and Child with John the Baptist,” as it is also called.

In 1508, Raphael moved to work for the Vatican in Rome. He lived the rest of his life here. His influential family connections also played a huge role in his invitation to the Vatican. With the assistance of his uncle Donato Bramante (a famous architect and painter of the time), Rafael Santi became the official artist of the papal court. He, at the invitation of Pope Julius II, arrives to complete the order of frescoing the Stanza della Segnatura, first before Michelangelo, who receives an official invitation a few months later. Raphael's first commissioned work in Rome was his largest and highest paying commission ever. He was to paint frescoes in what was to become the library of Julius II in the Vatican Palace. There were already similar works in different rooms, but they were mostly painted over, as they were commissioned by the predecessor and worst enemy of Pope Julius II, Rodrigo Borgia, Pope Alexander VI. The works of Raphael in this room were some of the artist's best works. These include Parnassus, School of Athens, Disputa, Virtues and Law.

In order to paint these famous works, he had to paint over some other works. However, Pope Julius II decided that these works were less important. After completing the work in the first room, Pope Julius II was very impressed and decided to commission the artist to paint in another room for further work. The second room in which Raphael worked is called Stanza d'Eliodoro. In this room, Raphael mainly focuses on God's protection of human activity. The influence of Michelangelo is clearly visible in these works. However, as has been the case throughout his career, the artist manages to use his own style, while still using many techniques from other masters. At one time, Michelangelo was quite irritated by Raphael's unique skill in quickly adopting the techniques of other artists. He even accused the artist of plagiarism.

While Raphael was working on the second hall, Pope Julius II died. However, this did not affect his work in any way. The next Pope Leo X was also delighted with Raphael's skill and supported the continuation of the painting. In addition, his complex network of friends played a significant role in providing the artist with orders, in such quantities that he would probably never be left without work. Rafael Santi continued to work on the project, but already played a smaller role in it. To complete it, he began to send a team of his assistants. His large and complex works for him, Leonardo da Vinci, and Michelangelo came to define the century in which they lived.

At the end of his life, Raphael continued to receive a salary from the Vatican. However, he also received numerous other orders. His most notable projects outside the Vatican are a series of altarpieces and Roman Madonnas. These works demonstrate an evolution in Raphael's style. In fact, he continued to develop until his death. In addition, he made a series of portraits. Among them are portraits of Pope Julius II and his successor.

His studio has been described as one of the largest ever owned by a craftsman. Undoubtedly, he adopted much of the experience of running a workshop from his father. Unlike the workshop organized by Michelangelo, Raphael's workshop worked more quickly and productively.

The artist managed not only to organize a whole subcontract of craftsmen and their assistants, but also to maintain good working relationships with all of them. His workshop was credited with developing the talent of some of the greatest masters of the time.

When Bramante died, Raphael was appointed chief architect of St. Peter's Basilica. In 1515 he also received the position of chief custodian of antiquities. Most of his works were subsequently demolished as they were, to some extent, gloomy. However, some of his works as an architect are still preserved in Rome.

Raphael often drew pictures, sometimes using a silver tip. A drawing made in this way is initially bluish-gray in color. Gradually, after oxidation, it acquires a brownish tint. As can be seen from his numerous drawings, he was a very innovative artist. Raphael never made copies of his works, but willingly collaborated with other artists and allowed them to use his sketches to create engravings.

The artist has never been married. For some time he was infatuated with Margherita Luti (Fornarina - baker), the daughter of a rich baker.

According to one version, numerous noisy games with his mistresses led to his premature death at thirty-seven years old. But still, this version is the subject of serious controversy. According to another version, he fell ill after having sex with Fornarina. But if we take into account the large amount of work that the artist performed, the morals of those times, the general state of health of the population of that century and the fact that then people generally did not live long, we can assume that all this together, in general, could have been the reason early death Raphael. In any case, after so many hundreds of years since his death, one can now only speculate about its cause, since some biographical facts remain unknown, and instead of them many conjectures, rumors, fantasies and conjectures have appeared. The artist bequeathed his considerable fortune to Margarita Luti, friends and students. After his death, Raphael was buried in the Pantheon, at his own request.

Without a doubt, Raphael is one of the leading artists of the Renaissance. Together with Titian, Donatello, Leonardo da Vinci, Michelangelo, Shakespeare, and a small group of contemporaries, Raphael became the center of a movement of artistic figures who enriched not only Western but also world culture with their masterpieces.

"Sistine Madonna". The painting measures 196 cm x 265 cm and was done in oil on canvas in 1514. Located in the Old Masters Gallery, Dresden, Germany.

“The Beautiful Gardener” (Madonna with Child and John the Baptist), measuring 80 cm. 122 cm. Made in oil on panel around 1507. Located in the Louvre, in Paris.

"Madonna and the Goldfinch." The painting measures 77 cm x 107 cm and was done in oil on panel in 1506. Located in the Uffizi Gallery, Florence, Italy.

"Madonna in Green" (Belvedere Madonna). The painting measures 88 cm x 113 cm and was done in oil on panel in 1506. Located in the Kunsthistorisches Museum, Vienna, Austria.

"Madonna Conestabile" The painting measures 18 cm x 17.5 cm, made in oil in 1504, transferred from wood to canvas. Is in State Hermitage, in St. Petersburg.

"Madonna in a Chair" The painting measures 71 cm x 71 cm and was done in oil in 1514. Located in Palazzo Pitti, Florence, Italy.

"Madonna Granduca". The painting measures 55.9 cm x 84.4 cm and was done in oil on panel in 1504. Located in the Palatine Gallery of Palazzo Pitti, Florence.

"Madonna Alba". The painting is in the form of a tondo, measuring 94.5 cm x 94.5 cm, painted in 1511, and transferred in oil to canvas. Located in the National Gallery of Art, Washington, USA.

"Madonna Tempi" The painting measures 51 cm x 75 cm and was done in oil on panel in 1507. Located in the Alte Pinakothek art gallery, Munich, Germany.

"Madonna Foligno". The painting measures 194 cm x 320 cm, made in 1512, transferred in oil to canvas. Located in the Vatican Pinacoteca.

"Three Graces". The painting measures 17 cm x 17 cm and was done in oil on panel in 1504. Located in the Condé Museum, Chantilly, France.

"Cardinal Bibbiena". The portrait measures 76 cm x 107 cm, painted in oil on panel, around 1516, located in Palazzo Pitti.

The portrait of Baldassare Castiglione (Count of Novilara, Italian writer) measures 67 cm x 82 cm, executed in oil on panel around 1515, now in the Louvre, Paris.

"Lady with a Unicorn" The portrait of a woman measures 61 cm x 65 cm, executed in oil on panel around 1506, located in the Galleria Borghese, Rome.

"Julius II". The portrait of the 216th Pope Giuliano della Rovere measures 81 cm x 108 cm, executed in oil on panel in 1511, located in the London National Gallery, Great Britain.

"Fornarina". The portrait presumably depicts Raphael's beloved woman. Its size is 60 cm x 85 cm. It was painted in oil on panel in 1519. Located in Palazzo Barberini, Rome.

"The School of Athens" The fresco measuring 770 cm x 500 cm was painted in 1511 in the Stanza della Segnatura, in the Vatican Palace (Apostolic Palace in the Vatican).

"Parnassus". The fresco, 670 cm wide, was painted in 1511 in the Stanza della Segnatura, in the Vatican Palace.

"Disputation". The fresco measures 770 cm x 500 cm, painted in 1510 in Stanza della Segnatura.

"Virtues and Law". The fresco is 660 cm wide and was painted between 1508 and 1511. in Stanza della Segnatura.

He created his first painted Madonna at the age of 17, and his most famous painting - also an image of the Virgin and Child, the great “Sistine Madonna” - is kept in the Dresden Gallery.

Discipleship

They say about people like Rafael Santi: he lived a short but very bright life. Yes, leaving at 37 means depriving the world of many, many more of your masterpieces. For example, Michelangelo continued to create until his death in old age. In the sad eyes of Raphael in the replicated “Self-Portrait” one can guess the tragically imminent end of his earthly existence.

Raphael's parents were also not long-lived. The father died when the boy was just 11 (but he, the artist, managed to pass on the basics of his craft to his heir), and the mother of the future genius of the Renaissance outlived her husband by 7 years.

Now nothing kept him in his native Urbino. And Raffaello becomes one of the students of master Perugino in Perugia. There he meets another talent of the Umbrian school - Pinturicchio; the artists perform several works together.

First masterpieces

In 1504 (the painter was only 21 years old) the masterpiece “The Three Graces” was born. Santi gradually moves away from imitating the teacher and acquires his own style. The miniature “Madonna Conestabile” also dates back to the same period. This is one of two paintings by the master that are kept in Russia (in the Hermitage collection). The second is “Madonna with Beardless Joseph” (another name is “Holy Family”).

The aspiring painter’s “baggage” was greatly enriched by his acquaintance with the “pillars” of the Renaissance - Michelangelo Buonarotti and Leonardo da Vinci. This happened in what was then almost the “capital of Italian art”, Florence. Leonardo's influence is felt in the portrait of "Lady with a Unicorn". It’s amazing to see a tiny one-horned animal (the look is more familiar to the cinematic white-maned chic horses with a horn in the forehead), sitting quietly on the lap of a blond girl (precisely girls - according to legend, unicorns became tame only with virgins). The Florentine period was marked by the creation of two dozen Madonnas. Probably, the theme of maternal love was very close to Raphael - after all, he lost this benefit early.

The best works of Raphael

One of most famous works Raphael Santi was created in Rome, where the painter moved in 1508. The fresco “School of Athens” (it adorns the Apostolic Vatican Palace) is a very complex composition (more than 50 heroes are depicted on the canvas). In the center are the sages Plato and Aristotle, the first proclaims the primacy of the spiritual (raising his hand up to the sky), the second is a supporter of the earthly (he points to the floor). In the faces of some characters one can discern the features of the author's friends (Plato-da Vinci, Heraclitus-Michelangelo), and he himself appears in the image of Ptolemy.

Among the dozen Roman Raphael Madonnas, the most touching and famous of all existing images of the Mother of God is the “Sistine Madonna.” “A piece of sky, a bridge of clouds - and Madonna comes down to you and me. She hugged her son so lovingly, protecting him from his enemies...” The main figure on the canvas is, of course, Mary. She, carrying an unusually serious child, is greeted by Saint Barbara and Pope Sixtus II with the “encrypted” right hand name (look closely - it has 6 fingers). Below, a pair of phlegmatic, plump angels admired the mother and child. It is impossible to tear yourself away from her anxious eyes.

Love of my life

In the guise main character The “Sistine Madonna” can be recognized as the love of the life of the great Italian creator - she went down in history under the nickname “Fornarina”. The literal translation of the word is “bakery”. The beautiful Margherita Lute really grew up in a baker's family. The girl spent time as a model and lover of Raffaello long years- until the death of the artist.

Her beautiful features can be admired in the “Portrait of a Young Woman” (also called “Fornarina”), dated 1519. After the teacher’s death (which occurred a year later), one of Raphael’s most famous students, Giulio Romano, painted a bracelet with the author’s name on canvas for a woman. Another famous image of the Muse is “Donna Velato” (“The Veiled Lady”). Seeing 17-year-old Margherita, Rafael fell madly in love with her and bought her from his father. Many representatives of the bohemians of that time were homosexual (the Renaissance was generally characterized by an unbridled triumph of the flesh), but Santi turned out to be an exception.

Two versions of death

One of the legends about his death says that death overtook the artist in Fornarina’s bed. The same evil gossip claims: the girl was not faithful to her lover. And after his early departure, having received a considerable fortune, she nevertheless followed the lead of her vicious nature and became one of the famous courtesans of Rome.

But admirers of the painter’s talent adhere to a different version: a fever brought him to his grave. And the love of the Rafael-Fornarina couple could be the envy of many. After the death of her unmarried husband, she took monastic vows and briefly outlived the maestro, considering herself his widow.

Raffaello's talent was multifaceted. He proved himself as an architect and a poet. And one of his drawings was auctioned at Sotheby’s at the end of 2012 for a record price of 29,721,250 British pounds.

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

Biography

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Creation

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

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

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

Rafael Santi: the most famous paintings

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

Raphael Santi - Sistine Madonna

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

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

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

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

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

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

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

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

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

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

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

"Madonna Alba" owned by for a long time to the Spanish family of the same name and embodies the unity of soul, body and Spirit, knowledge of the future path, and readiness to follow it.

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

Raphael, the son of the painter Giovanni Santi, spent his early years in Urbino. In 1500-1504, Raphael, according to Vasari, studied with the artist Perugino in Perugia.

From 1504, Raphael worked in Florence, where he became acquainted with the works of Leonardo da Vinci and Fra Bartolommeo, and studied anatomy and scientific perspective.
Moving to Florence played a huge role in Raphael's creative development. Of primary importance for the artist was familiarity with the method of the great Leonardo da Vinci.

Following Leonardo, Raphael begins to work a lot from life, studying anatomy, mechanics of movements, complex poses and angles, looking for compact, rhythmically balanced compositional formulas.
The numerous images of Madonnas he created in Florence brought the young artist all-Italian fame.
Raphael received an invitation from Pope Julius II to Rome, where he was able to become more familiar with ancient monuments and took part in archaeological excavations. Having moved to Rome, the 26-year-old master received the position of “artist of the Apostolic See” and the assignment to paint the state rooms of the Vatican Palace, from 1514 he directed the construction of St. Peter’s Cathedral, worked in the field of church and palace architecture, in 1515 he was appointed Commissioner of Antiquities, responsible for the study and protection of ancient monuments, archaeological excavations. Fulfilling the pope's order, Raphael created murals in the halls of the Vatican, glorifying the ideals of freedom and earthly happiness of man, the limitlessness of his physical and spiritual capabilities.

The painting “Madonna Conestabile” by Rafael Santi was created by the artist at the age of twenty.

In this painting, the young artist Raphael created his first remarkable embodiment of the image of the Madonna, which occupied an extremely important place in his art. The image of a young beautiful mother, generally so popular in Renaissance art, is especially close to Raphael, whose talent had a lot of softness and lyricism.

Unlike the masters of the 15th century, new qualities emerged in the paintings of the young artist Raphael Santi, when a harmonious compositional structure does not constrain the images, but, on the contrary, is perceived as a necessary condition for the feeling of naturalness and freedom that they generate.

Holy family 1507-1508. Alte Pinakothek, Munich.

Painting by artist Raphael Santi “The Holy Family” by Canigiani.

The customer of the work is Domenico Canigianini from Florence. In the painting “The Holy Family”, the great Renaissance painter Raphael Santi depicted the Holy Family in the classical vein of biblical history - the Virgin Mary, Joseph, the baby Jesus Christ along with St. Elizabeth and the baby John the Baptist.

However, only in Rome did Raphael overcome the dryness and some stiffness of his early portraits. It was in Rome that Raphael's brilliant talent as a portrait painter reached maturity.

In Raphael’s “Madonnas” of the Roman period, the idyllic mood of his early works is replaced by the recreation of deeper human, maternal feelings, as Mary, full of dignity and spiritual purity, appears as the intercessor of humanity in Raphael’s most famous work - “The Sistine Madonna”.

The painting “The Sistine Madonna” by Raphael Santi was originally created by the great painter as an altar image for the church of San Sisto (St. Sixtus) in Piacenza.

In the painting, the artist depicts the Virgin Mary with the Christ Child, Pope Sixtus II and Saint Barbara. The painting “The Sistine Madonna” is one of the most famous works of world art.

How was the image of the Madonna created? Was there a real prototype for it? In this regard, a number of ancient legends are associated with the Dresden painting. Researchers find similarities in the Madonna's facial features with the model of one of Raphael's female portraits - the so-called “Lady in the Veil”. But in resolving this issue, first of all, one should take into account the famous statement of Raphael himself from a letter to his friend Baldassare Castiglione that in creating the image of perfect female beauty he is guided by a certain idea, which arises on the basis of many impressions from the beauties the artist saw in life. In other words, the basis of the creative method of the painter Raphael Santi is the selection and synthesis of observations of reality.

In the last years of his life, Raphael was so overloaded with orders that he entrusted the execution of many of them to his students and assistants (Giulio Romano, Giovanni da Udine, Perino del Vaga, Francesco Penni and others), usually limiting himself to general supervision of the works.

Raphael had a huge influence on the subsequent development of Italian and European painting, becoming, along with the masters of antiquity, the highest example of artistic perfection. The art of Raphael, which had a tremendous influence on European painting of the 16th-19th and, partly, 20th centuries, for centuries retained the meaning of indisputable artistic authority and model for artists and viewers.

In the last years of his creative work, based on the artist’s drawings, his students created huge cardboards on biblical themes with episodes from the life of the apostles. Based on these cardboards, Brussels masters were supposed to create monumental tapestries that were intended to decorate the Sistine Chapel on holidays.

Paintings by Rafael Santi

The painting “Angel” by Raphael Santi was created by the artist at the age of 17-18 at the very beginning of the 16th century.

This magnificent early work by the young artist is part or fragment of the Baroncha altarpiece, damaged by the 1789 earthquake. The altarpiece “Coronation of Blessed Nicholas of Tolentino, conqueror of Satan” was commissioned by Andrea Baronci for his home chapel in the church of San Agostinho in Citta de Castello. In addition to the fragment of the painting “Angel”, three more parts of the altar have been preserved: “The Most High Creator” and “The Blessed Virgin Mary” in the Capodimonte Museum (Naples) and another fragment “Angel” in the Louvre (Paris).

The painting “Madonna Granduca” was painted by the artist Rafael Santi after moving to Florence.

The numerous images of Madonnas created by the young artist in Florence (“Madonna of Granduca”, “Madonna of the Goldfinch”, “Madonna of the Greens”, “Madonna with the Child Christ and John the Baptist” or “The Beautiful Gardener” and others) brought Raphael Santi all-Italian fame.

The painting “The Dream of a Knight” was painted by the artist Rafael Santi in the early years of his work.

The painting is from Borghese’s legacy, probably paired with another work by the artist, “The Three Graces.” These paintings - "The Dream of a Knight" and "The Three Graces" - are almost miniature in composition size.

The theme of “The Knight’s Dream” is a unique refraction of the ancient myth of Hercules at the crossroads between the allegorical embodiments of Valor and Pleasure. Near the young knight, depicted sleeping against the backdrop of a beautiful landscape, stand two young women. One of them, in formal attire, offers him a sword and a book, the other a branch with flowers.

In the painting “The Three Graces” the very compositional motif of three naked female figures is apparently borrowed from an antique cameo. And although there is still a lot of uncertainty in these works of the artist (“The Three Graces” and “The Dream of a Knight”), they attract with their naive charm and poetic purity. Already here some features inherent in Raphael’s talent were revealed - the poetry of images, a sense of rhythm and the soft melodiousness of lines.

Battle of St. George with the Dragon 1504-1505. Louvre Museum, Paris.

The painting “The Battle of St. George with the Dragon” by Raphael Santi was painted by the artist in Florence, after he left Perugia.

“The Battle of St. George with the Dragon” is based on a biblical story popular in the Middle Ages and the Renaissance.

The altarpiece “Madonna of Ansidei” by Raphael Santi was painted by the artist in Florence; the young painter was not yet 25 years old.

Unicorn, a mythical animal with the body of a bull, horse or goat and one long straight horn on its forehead.

The unicorn is a symbol of purity and virginity. According to legend, only an innocent girl can tame the ferocious unicorn. The painting “Lady with a Unicorn” was painted by Rafael Santi based on a mythological plot popular during the Renaissance and mannerism, which many artists used in their paintings.

The painting “Lady with a Unicorn” was badly damaged in the past, but has now been partially restored.

Painting by Raphael Santi “Madonna in Greenery” or “Mary and Child with John the Baptist”.

In Florence, Raphael created the Madonna cycle, indicating the onset of a new stage in his work. Belonging to the most famous of them, “Madonna of the Greens” (Vienna, Museum), “Madonna with the Goldfinch” (Uffizi) and “Madonna of the Gardener” (Louvre) represent a kind of variants of a common motif - the image of a young beautiful mother with the child Christ and little John the Baptist against the backdrop of a landscape. These are also variations of one theme - the theme of maternal love, bright and serene.

Altarpiece painting "Madonna di Foligno" by Raphael Santi.

In the 1510s, Raphael worked a lot in the field of altar composition. A number of his works of this kind, including the Madonna di Foligno, lead us to the greatest creation of his easel painting - the Sistine Madonna. This painting was created in 1515-1519 for the Church of St. Sixtus in Piacenza and is now in the Dresden Art Gallery.

The painting “Madonna di Foligno” in its compositional structure is similar to the famous “Sistine Madonna”, with the only difference that in the painting “Madonna di Foligno” there are more characters and the image of the Madonna is distinguished by a kind of internal isolation - her gaze is occupied with her child - the Christ Child .

The painting “Madonna del Impannata” by Rafael Santi was created by the great painter almost at the same time as the famous “Sistine Madonna”.

In the painting, the artist depicts the Virgin Mary with the children Christ and John the Baptist, Saint Elizabeth and Saint Catherine. The painting “Madonna del Impannata” testifies to the further improvement of the artist’s style, to the complication of images in comparison with the soft lyrical images of his Florentine Madonnas.

The mid-1510s were the time of Raphael's best portrait work.

Castiglione, Count Baldassare (Castiglione; 1478-1526) - Italian diplomat and writer. Born near Mantua, he served at various Italian courts, was the ambassador of the Duke of Urbino in the 1500s for Henry VII of England, and from 1507 in France for King Louis XII. In 1525, already at a fairly advanced age, he was sent by the papal nuncio to Spain.

In this portrait, Raphael showed himself to be an outstanding colorist, able to sense color in its complex shades and tonal transitions. The portrait of the Lady in the Veil differs from the portrait of Baldassare Castiglione in its remarkable coloristic qualities.

Researchers of the work of the artist Raphael Santi and historians of Renaissance painting find in the features of the model of this female portrait of Raphael a resemblance to the face of the Virgin Mary in his famous painting “The Sistine Madonna.”

Joan of Aragon 1518 Louvre Museum, Paris.

The customer of the painting is Cardinal Bibbiena, writer and secretary to Pope Leo X; the painting was intended as a gift to the French king Francis I. The portrait was only begun by the artist, and it is not known for certain which of his students (Giulio Romano, Francesco Penni or Perino del Vaga) completed it.

Joanna of Aragon (? -1577) - daughter of the Neapolitan king Federigo (later deposed), wife of Ascanio, Prince Taliacosso, famous for her beauty.

The extraordinary beauty of Joan of Aragon was glorified by contemporary poets in a number of poetic dedications, the collection of which comprised an entire volume, published in Venice

The artist’s painting depicts a classic version of the biblical chapter from the Revelation of John the Theologian or the Apocalypse.
“And there was war in heaven: Michael and his angels fought against the dragon, and the dragon and his angels fought against them, but they did not stand, and there was no longer a place for them in heaven. And the great dragon was cast out, that ancient serpent, called the devil and Satan, who deceives the whole world, he was cast out to the earth, and his angels were cast out with him...”

Frescoes by Raphael

The fresco by artist Raphael Santi “Adam and Eve” also has another name - “The Fall”.

The size of the fresco is 120 x 105 cm. Raphael painted the fresco “Adam and Eve” on the ceiling of the pontiff’s chambers.

The fresco by artist Raphael Santi “The School of Athens” also has another name - “Philosophical Conversations”. The size of the fresco, the length of the base is 770 cm. After moving to Rome in 1508, Raphael was entrusted with painting the pope's apartments - the so-called stanzas (that is, rooms), which include three rooms on the second floor of the Vatican Palace and the adjacent hall. The general ideological program of the fresco cycles in the stanzas, as conceived by the customers, was supposed to serve to glorify the authority of the Catholic Church and its head - the Roman high priest.

Along with allegorical and biblical images, individual frescoes depict episodes from the history of the papacy; some compositions include portrait images of Julius II and his successor Leo X.

The customer of the painting “The Triumph of Galatea” is Agostino Chigi, a banker from Siena; The fresco was painted by the artist in the banquet hall of the villa.

Raphael Santi's fresco "The Triumph of Galatea" depicts the beautiful Galatea swiftly moving through the waves on a shell drawn by dolphins, surrounded by newts and naiads.

In one of the first frescoes executed by Raphael, the Dispute, which depicts a conversation about the sacrament of the sacrament, cult motifs were most prominent. The symbol of communion itself - the host (wafer) - is installed on the altar in the center of the composition. The action takes place on two planes - on earth and in heaven. Below, on a stepped dais, the church fathers, popes, prelates, clergy, elders and youths were located on both sides of the altar.

Among other participants here you can recognize Dante, Savonarola, and the pious monk-painter Fra Beato Angelico. Above the entire mass of figures in the lower part of the fresco, like a heavenly vision, the personification of the Trinity appears: God the Father, below him, in a halo of golden rays, is Christ with the Mother of God and John the Baptist, even lower, as if marking the geometric center of the fresco, is a dove in sphere, a symbol of the holy spirit, and on the sides the apostles are seated on floating clouds. And all this huge number of figures, with such a complex compositional design, is distributed with such skill that the fresco leaves an impression of amazing clarity and beauty.

Prophet Isaiah 1511-1512. San Agostinho, Rome.

Raphael's fresco depicts the great biblical prophet of the Old Testament at the moment of revelation of the coming of the Messiah. Isaiah (9th century BC), Hebrew prophet, zealous champion of the religion of Yahweh and denouncer of idolatry. The biblical Book of the Prophet Isaiah bears his name.

One of the four great Old Testament prophets. For Christians, Isaiah’s prophecy about the Messiah (Immanuel; ch. 7, 9 - “...behold, the Virgin will be with child and give birth to a Son, and they will call his name Immanuel”) is of particular significance. The memory of the prophet is revered in the Orthodox Church on May 9 (May 22), in the Catholic Church on July 6.

Frescoes and last paintings of Raphael

The fresco “The Deliverance of the Apostle Peter from Prison,” which depicts the miraculous release of the Apostle Peter from prison by an angel (an allusion to the release of Pope Leo X from French captivity when he was papal legate), makes a very strong impression.

On the ceiling lamps of the papal apartments - Stanza della Segnatura, Raphael painted the frescoes “The Fall”, “The Victory of Apollo over Marsyas”, “Astronomy” and a fresco on the famous Old Testament story “The Judgment of Solomon”.
It is difficult to find in the history of art any other artistic ensemble that would give the impression of such figurative richness in terms of ideological and visual-decorative design as Raphael’s Vatican stanzas. Walls covered with multi-figure frescoes, vaulted ceilings with rich gilded decor, with fresco and mosaic inserts, a beautifully patterned floor - all this could create the impression of overload, if not for the high orderliness inherent in the general design of Raphael Santi, which brings to this complex artistic complex necessary clarity and visibility.

Until the last years of his life, Raphael paid great attention to monumental painting. One of the artist’s largest works was the painting of the Villa Farnesina, which belonged to the richest Roman banker Chigi.

In the early 1910s, Raphael painted the fresco “The Triumph of Galatea” in the main hall of this villa, which is one of his best works.

Myths about Princess Psyche tell about the desire of the human soul to merge with love. For her indescribable beauty, people revered Psyche more than Aphrodite. According to one version, a jealous goddess sent her son, the deity of love Cupid, to arouse in the girl a passion for the ugliest of people, however, when he saw the beauty, the young man lost his head and forgot about his mother’s order. Having become the husband of Psyche, he did not allow her to look at him. She, burning with curiosity, lit a lamp at night and looked at her husband, not noticing a hot drop of oil falling on his skin, and Cupid disappeared. In the end, by the will of Zeus, the lovers united. Apuleius in Metamorphoses retells the myth of the romantic story of Cupid and Psyche; the wanderings of the human soul, eager to meet its love.

The painting depicts Fornarina, the lover of Rafael Santi, whose real name is Margherita Luti. Fornarina's real name was established by researcher Antonio Valeri, who discovered it in a manuscript from a Florentine library and in a list of nuns of a monastery, where the novice was identified as the widow of the artist Raphael.

Fornarina is the legendary lover and model of Raphael, whose real name is Margherita Luti. According to many Renaissance art critics and historians of the artist’s work, Fornarina is depicted in two famous paintings by Rafael Santi - “Fornarina” and “The Veiled Lady.” It is also believed that Fornarina, in all likelihood, served as a model for the creation of the image of the Virgin Mary in the painting “The Sistine Madonna”, as well as some other female images of Raphael.

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

The painting was originally created as an altarpiece for the Cathedral of Narbonne, commissioned by Cardinal Giulio Medici, Bishop of Narbonne. The contradictions of the last years of Raphael’s work were most reflected in the huge altar composition “The Transfiguration of Christ” - it was completed after Raphael’s death by Giulio Romano.

This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was done by Raphael himself. Below are the apostles trying to heal a possessed boy

It was Raphael Santi’s altar painting “The Transfiguration of Christ” that became an indisputable model for academic painters for centuries.
Raphael died in 1520. His premature death was unexpected and made a deep impression on his contemporaries.

Raphael Santi deservedly ranks among the greatest masters of the High Renaissance.