Italy gave the world a huge number of great artists, architects, and graphic artists. Among them, Rafael Santi shines brightly. An architect and artist well known to the modern world, he 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 The 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. Thoughts young artist absorbed in studying, working 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, the famous artist fell in love with the daughter of a baker, 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 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 her 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 points to 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”, which has long belonged 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 is an artist who had a monumental influence on the way art developed. Raphael 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 his images of Madonnas and monumental frescoes in the Vatican Palace. The biography of Rafael Santi, as well as his work, is divided into three main periods.

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

Brief biography of Rafael Santi

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

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

Four years spent under the influence of Florentine art helped him achieve an individual style and unique technology painting. Upon 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 “Raphael’s 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.

Works of Raphael

The compositions created by the artist are famous for their grace, harmony, smooth lines and perfection of forms, which can only be rivaled by the paintings of Leonardo and the works of Michelangelo. 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 his short life, the artist left behind a rich heritage, 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 excellence, but after Santi's untimely death, attention turned to the work of Michelangelo, and until the 18th century, Raphael's legacy remained in relative oblivion.

The work and biography of Raphael Santi are divided into three periods, the main and most influential of which are the four years the artist spent 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 life. He never stayed in Florence for a long time, but despite this, four years of Raphael’s life, and especially his work, are 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 noticeable in one of the first works of the Florentine period - “The Three Graces”. Rafael Santi managed to assimilate new trends while remaining true to his individual style. Monumental painting also changed, as evidenced by the frescoes of 1505. The wall paintings show the influence of Fra Bartolomeo.

However, the influence of da Vinci on the work of Rafael Santi is most clearly visible during this period. Raphael assimilated not only the elements of technique and composition (sfumato, pyramidal construction, contrapposto), 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. His friendship with Donato Bramante, the chief architect of the Vatican, ensured that he received a warm welcome at the court of Pope Julius II. Almost immediately after the move, Rafael began large-scale work over the frescoes for Stanza della Segnatura. The compositions decorating the walls of the papal office are still considered the ideal of monumental painting. The frescoes, among which “The School of Athens” and “The Controversy over Communion” 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, more than 50 students and assistants of the artist worked, 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. He was briefly one of the most influential architects in Rome. Unfortunately, few of the developed plans were implemented due to his untimely death and subsequent changes in the architecture of the city.

Madonnas by Raphael

During his rich career, Raphael created more than 30 paintings depicting Mary and the baby Jesus. Madonnas of Raphael Santi are divided into Florentine and Roman.

Florentine Madonnas are paintings created under the influence of Leonardo da Vinci depicting the young Mary and Child. John the Baptist is often depicted next to the Madonna and Jesus. 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 in them, as well as the perfection of forms and harmony of lines.

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

Stanzas of Raphael

The monumental paintings that adorn the walls of the Papal Palace (and now the Vatican Museum) are considered Raphael's greatest works. It's hard to believe that the artist completed work on Stanza della Segnatura in three and a half years. The frescoes, including the magnificent “School of Athens,” are painted in extremely detailed and high quality. Judging by the drawings and preparatory sketches, working on them was an incredibly labor-intensive process, which once again testifies to Raphael’s hard work and artistic talent.

Four frescoes from the Stanza della Segnatura depict the four spheres of human spiritual life: philosophy, theology, poetry and justice - the compositions “The School of Athens”, “The Controversy over Communion”, “Parnassus” and “Wisdom, Moderation and Strength” (“Secular Virtues”) .

Raphael received an order 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 contains the divine patronage of the church.

Rafael Santi: portraits

The portrait genre in Raphael's work does not occupy such a prominent role as religious and even mythological or historical painting. The artist's early portraits were technically behind his other paintings, 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. The harmony and balance of technical execution and emotional load of the painting create a unique and deep impression that only Rafael Santi could achieve. A photo today is not capable of what the portrait of Pope Julius II achieved in its time - people who saw it for the first time were frightened and cried, Raphael was so perfectly 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 the Portrait of Baldassare Castiglione, which was copied by Rubens and Rembrandt in their time.

Architecture

Raphael's architectural style was predictably influenced by Bramante, which is why Raphael's short period as chief architect of the Vatican and one of the most influential architects in Rome was so important in preserving the stylistic unity of the buildings.

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

Raphael's hand belongs to the plan of the Vatican courtyard and the painted loggias facing it, as well as the round church of Sant' Eligio degli Orefici and one of the chapels in the church of St. Maria del Poppolo.

Graphic works

The painting of Rafael Santi is not the only type of fine art in which the artist achieved perfection. More recently, one of his drawings (“Head of a Young Prophet”) was sold at auction for 29 million pounds, becoming the most expensive drawing in the history of art.

To date, there are about 400 drawings belonging to the hand of Raphael. Most of them are sketches for painting works, however, there are also those that can easily be considered separate, independent works.

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

Artistic heritage

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

Raphael left his descendants an artistic and ideological legacy. It is so rich and diverse that it is hard to believe it, looking at how short its 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.

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 for him real prototype? 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 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 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, 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 the 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 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.”

Joanna of Aragon 1518 Louvre Museum, Paris.

The customer of the painting was 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.

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 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 “Disputation,” which depicts a conversation about the sacrament of communion, 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 last paintings of 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 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, floor beautiful pattern- all this could create the impression of overload, if not for the high orderliness inherent in the general plan of Rafael Santi, which brings the necessary clarity and visibility to this complex artistic complex.

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 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 “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.

Rafael Santi (Raffaello Santi) is an Italian artist, master of graphics and architectural solutions, representative of the Umbrian school of painting.

Raphael Santi was born at three o'clock in the morning into the family of an artist and decorator on April 6, 1483 in the Italian city (Urbino). It is the cultural and historical center of the region (Marche) in eastern Italy. The resort towns of Pesaro and Rimini are located near Raphael's birthplace.

Parents

The father of the future celebrity, Giovanni Santi, worked in the castle of the Duke of Urbino Federico da Montefeltro, his mother Margie Charla did housework.

The father early noticed his son's ability to paint and often took him with him to the palace, where the boy communicated with such famous artists like Piero della Francesca, Paolo Uccello and Luca Signorelli.

School in Perugia

At the age of 8, Rafael lost his mother and was brought into the house by his father new wife Bernardina, who showed no love for someone else's child. At the age of 12, the boy was left an orphan., having lost his father. The trustees sent the young talent to study with Pietro Vannucci in Perugia.

Until 1504, Raphael was educated at the school of Perugino, enthusiastically studying the teacher’s skills and trying to imitate him in everything. Friendly, charming, and devoid of arrogance, the young man made friends everywhere and quickly adopted the experience of his teachers. Soon his works became impossible to distinguish from the works of Pietro Perugino.

Raphael's first famous masterpieces were paintings:

1. “The Betrothal of the Virgin Mary” (Lo sposalizio della Vergine), 1504, exhibited in the Milan Gallery (Pinacoteca di Brera);
2. “Madonna Connestabile”, 1504, belongs to the Hermitage (St. Petersburg);
3. “The Dream of a Knight” (Sogno del cavaliere), 1504, the painting is exhibited in the National Gallery in London;
4. “The Three Graces” (Tre Grazie), 1504, is exhibited at the Musée Condé in Château de Chantilly, France;

The influence of Perugino is clearly visible in the works; Raphael began to create his own style a little later.

In Florence

In 1504, Raphael Santi moved to (Firenze), following his teacher Perugino. Thanks to the teacher, the young man met architectural genius Baccio d'Agnolo, an outstanding sculptor Andrea Sansovino, the painter Bastiano da Sangallo and his future friend and protector Taddeo Taddei. A meeting with Leonardo da Vinci had a significant impact on Raphael's creative process. A copy of the painting “Leda and the Swan” belonging to Raphael has survived to this day (unique in that the original itself has not survived).

Under the influence of new teachers, Rafael Santi, while living in Florence, creates more than 20 Madonnas, putting into them his longing for the love and affection he did not receive from his mother. The images breathe love, are tender and sophisticated.

In 1507, the artist took an order from Atalanta Baglióni, whose only son died. Rafael Santi creates the painting “Entombment” (La deposizione), last job in Florence.

Life in Rome

In 1508, Pope Julius II (Iulius PP. II), in the world - Giuliano della Rovere (Giuliano della Rovere) invites Raphael to Rome to paint the old Vatican Palace. From 1509 until the end of his days, the artist worked, putting all his skill, all his talent and all his knowledge into his work.

When the architect Donato Bramante died, Pope Leo X (Leo PP. X), in the world - Giovanni Medici, from 1514 appointed Raphael as the leading architect of the construction (Basilica Sancti Petri), in 1515 he also becomes a custodian of valuables. The young man took responsibility for the census and preservation of monuments. For the Temple of St. Peter, Raphael drew up a different plan and completed the construction of a courtyard with loggias.

Other architectural works of Raphael:

• Church of Sant’Eligio degli Orefici, built on the street of the same name in , construction began in 1509.
• Chigi Chapel (La cappella Chigi) of the church (Basilica di Santa Maria del Popolo), located in Piazza del Popolo. Construction began in 1513 and was completed (by Giovanni Bernini) in 1656.
• Palazzo Vidoni-Caffarelli in Rome, located at the intersection of Piazza Vidoni and Corso Vittorio Emanuele. Construction began in 1515.
• The now ruined Palazzo Branconio dell'Aquila was located in front of St. Peter's Basilica. Construction was completed in 1520.
• The Pandolfini Palace in Florence on Via San Gallo was built by the architect Giuliano da Sangallo according to the sketches of Raphael.

Pope Leo X was afraid that the French might lure away a talented artist, so he tried to give him as much as possible more work, not skimping on gifts and praise. In Rome, Rafael Santi continues to paint Madonnas, without departing from his favorite theme of motherhood.

Personal life

The paintings of Rafael Santi brought him not only the fame of an outstanding artist, but also a lot of money. He never lacked both the attention of royalty and financial resources.

During the reign of Leo X, he acquired a luxurious house in the antique style, built according to his own design. However, multiple attempts to marry the young man by his patrons led nowhere. Raphael was a great admirer of female beauty. On the initiative of Cardinal Bibbiena, the artist was engaged to his niece Maria Dovizi da Bibbiena, but the wedding did not take place. the maestro did not want to tie the knot. The name of one famous mistress of Raphael is Beatrice from (Ferrara), but most likely she was an ordinary Roman courtesan.

The only woman who managed to win the heart of a wealthy womanizer was Margherita Luti, the daughter of a baker, nicknamed La Fornarina.

The artist met a girl in the Chigi garden when he was looking for an image for “Cupid and Psyche.” Thirty-year-old Raphael Santi painted (Villa Farnesina) in Rome, which belonged to his wealthy patron, and the beauty of a seventeen-year-old girl suited this image perfectly.

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The girl’s father allowed his daughter to pose for the artist for 50 gold pieces, and later for 3,000 gold pieces he allowed Raphael to take her with him. For six years, the young people lived together, Margarita never ceased to inspire her admirer with new masterpieces, including:

• “Sistine Madonna” (“Madonna Sistina”), Gallery of Old Masters (Gemäldegalerie Alte Meister), Dresden, Germany, 1514;.;
• “Donna Velata” (“La Velata”), Palatine Gallery (Galerie Palatine), ( Palazzo Pitti), Florence, 1515;
• “Fornarina” (“La Fornarina”), Palazzo Barberini, Rome, 1519;

After Raphael's death, young Margarita received lifelong maintenance and a house. But in 1520 the girl became a novice in the monastery, where she later died.

Death

Raphael's death left many mysteries. According to one version, the artist, tired of his nightly adventures, returned home in a weakened state. The doctors were supposed to support his strength, but they performed bloodletting, which killed the patient. According to another version, Raphael caught a cold during excavations in the underground burial galleries.

On April 6, 1520, the maesto passed away. He was buried in the (Pantheon) with due honors. Raphael's tomb can be seen during the sightseeing tour of Rome at dawn.

Madonna

Imitating his teacher Pietro Perugino, Raphael painted a gallery of forty-two paintings of the Virgin and Child. Despite the variety of storylines, the works are united by the touching beauty of motherhood. The artist transfers the lack of maternal love onto the canvases, strengthening and idealizing the woman who anxiously protects the baby angel.

Raphael Santi's first Madonnas were created in the quattrocento style, common during the early Renaissance in the 15th century. The images are constrained, dry, human figures are presented strictly frontally, the gaze is motionless, there is calmness and solemn abstraction on their faces.

The Florentine period introduces feelings into the images of the Mother of God, anxiety and pride for her child are manifested. The landscapes in the background become more complex, and the interaction of the characters depicted becomes apparent.

In later Roman works one can discern the origins of Baroque, feelings become more complex, poses and gestures are far from Renaissance harmony, the proportions of figures are elongated, and a predominance of gloomy tones is observed.

Below are the most famous paintings and their descriptions:

The Sistine Madonna (Madonna Sistina) is the most famous of all images of the Mother of God measuring 2 m 65 cm by 1 m 96 cm. The image of the Madonna is taken from 17-year-old Margherita Luti, the daughter of a baker and the artist’s mistress.

Mary, descending from the clouds, carries an unusually serious baby in her arms. They are met by Pope Sixtus II and Saint Barbara. At the bottom of the picture are two angels, presumably leaning on a coffin lid. The angel on the left has one wing. The name Sixtus is translated from Latin as “six”; the composition consists of six figures – the three main ones form a triangle; the background for the composition is the faces of angels in the form of clouds. The canvas was created for the altar of the Basilica of St. Sixtus (Chiesa di San Sisto) in Piacenza in 1513. Since 1754, the work has been exhibited in the Gallery of Old Masters.

Madonna and Child

Another name for the painting, created in 1498, is “Madonna of the House of Santi” (“Madonna di Casa Santi”). It became the artist’s first appeal to the image of the Mother of God.

The fresco is kept in the house where the artist was born, on Via Raffaello in Urbino. Today the building is called the “House-Museum of Raphael Santi” (“Casa Natale di Raffaello”). Madonna is shown in profile, reading a book placed on a stand. She has a sleeping baby in her arms. The mother's hands support and gently stroke the child. The poses of both figures are natural and relaxed, the mood is set by the contrast of dark and white tones.

Madonna del Granduca is Raphael's most mysterious work, completed in 1505. Its preliminary sketch clearly indicates the presence of a landscape in the background. The drawing is kept in the Cabinet of Sketches and Etudes in (Galleria degli Uffizi), in Florence (Firenze).

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An x-ray of the finished work confirms that the painting originally had a different background. The analysis of the paint indicates that the top layer of the painting was applied 100 years after its creation. Presumably, this could have been done by the artist Carlo Dolci, owner of the Granduca Madonna, who preferred dark background religious images. In 1800, Dolci sold the painting to Duke Francis III (François III) in the form in which it has survived to this day. Madonna gets the name “Granduka” from the name of the same owner (Grand Duca - Grand Duke). The painting, measuring 84 cm by 56 cm, is exhibited in the Galerie Palatine of Palazzo Pitti, Florence.

For the first time, A. S. Pushkin noticed the resemblance between Madonna Bridgewater and his wife Natalya Nikolaevna in the summer of 1830, after seeing a copy of a painting created in 1507 in the window of a book store on Nevsky Prospekt. This is another mysterious work by Raphael, where the landscape in the background is painted over with black paint. She traveled around the world for a long time, after which the Duke of Bridgewater became her owner.

Subsequently, the heirs kept the work in the Bridgewater estate in London for more than a hundred years. In the Second world war The blonde Madonna was transported to the National Gallery of Scotland in Edinburgh, where it is exhibited today.

Madonna Connestabile is the finishing work of the maestro in Umbria, painted in 1502. Before its acquisition by Count Conestabile della Staffa, it was called the Madonna del Libro.

In 1871, Alexander II bought it from the count to give it to his wife. Today this is the only work of Raphael that belongs to Russia. It is exhibited in the St. Petersburg Hermitage.

The work is presented in a rich frame created simultaneously with the canvas. When transferring the painting from wood to canvas in 1881, it was discovered that instead of a book, the Madonna initially held a pomegranate with her - a sign of the blood of Christ. At the time of creating the Madonna, Raphael did not yet master the technique of softening the transitions of lines - sfumato, so he presented his talent with the undiluted influence of Leonardo da Vinci.

"Madonna d'Alba" was created by Raphael in 1511 at the request of Bishop Paolo Giovio. during the artist's creative zenith. For a long time, until 1931, the painting belonged to the St. Petersburg Hermitage; it was subsequently sold to Washington, USA, and today is exhibited in the National Gallery of Art.

The pose and folds of Our Lady's clothing are reminiscent of sculptures from antiquity. The work is unusual in that it is framed by a circle with a diameter of 945 mm. The title “Alba” was given to the Madonna in the 17th century in memory of the Dukes of Alba (at one time the painting was in the palace of Sevilla, which belonged to the heirs of Olivares). In 1836, Russian Emperor Nicholas I bought it for £14,000 and ordered it to be transferred from wood to canvas. At the same time, part of nature on the right was lost.

"Madonna della Seggiola" was created in 1514 and is exhibited in the Galerie Palatine of Palazzo Pitti. The Mother of God is dressed in the elegant clothing of women from 16th century Italy.

Madonna hugs and hugs her son tightly with both arms, as if feeling what he will have to experience. On the right, John the Baptist looks at them in the form of a little boy. All figures are drawn close-up and the background for the picture is no longer required. There is no strictness of geometric shapes and linear perspectives, but there is endless mother's love, expressed by the use of warm colors.

Raphael's large canvas (1 m 22 cm by 80 cm) of “The Beautiful Gardener” (La Belle Jardiniere), painted in 1507, belongs to one of the most valuable exhibits of the Paris Louvre (Musée du Louvre).

Initially, the painting was called “The Holy Virgin in a Peasant’s Dress,” and only in 1720 did the art critic Pierre Mariette decide to give it a different name. Mary is depicted sitting in the garden with Jesus and John the Baptist. The son reaches out to the book and looks into his mother’s eyes. John holds a staff with a cross and looks at Christ. Halos are barely visible above the characters' heads. Peace and tranquility are given by a turquoise sky with white clouds, a lake, flowering herbs and plump children near the kind and gentle Madonna.

Madonna with the Goldfinch

Madonna with the Goldfinch (Madonna del Cardellino) is recognized as one of Raphael’s best creations, painted in 1506. Exhibited in the Uffizi Gallery (Galleria degli Uffizi) in Florence.

The customer for the painting was the artist’s friend, the merchant Lorenzo Nazi, who asked that the work be ready for his wedding. In 1548, the painting was almost lost when Mount San Giorgio collapsed on the merchant's house and neighboring houses. However, Lorenzo's son, Batista, collected all the parts of the painting from the ruins and gave them to Ridolfo del Ghirlandaio for restoration. He did everything possible to give the masterpiece its original appearance, but traces of damage could not be completely hidden. The x-ray shows 17 separate elements connected by nails, new painting and four inserts on the left side.

The Small Madonna of Cowper (Piccola Madonna Cowper) was created in 1505 and named after Earl Cowper, in whose collection the work was for many years. In 1942, donated to the National Gallery of Art in Washington. The Holy Virgin, as in many other paintings by Raphael, is represented in red robes, symbolizing the blood of Christ. A blue cape is added on top as a symbol of innocence. Although no one in Italy walked like this, Raphael depicted the Mother of God in exactly such clothes. The main shot is occupied by Maria resting on a bench. With her left hand she hugs the smiling Christ. Behind you can see a church reminiscent of the Temple of San Bernardino (Chiesa di San Bernardino) in Urbino, the homeland of the author of the picture.

Portraits

There are not many portraits in Raphael's collection; he passed away early. Among them one can highlight early works made in the Florentine period and works of his mature age, created while living in Rome from 1508 to 1520. The artist draws a lot from life, always clearly defining the outline, achieving the most accurate correspondence of the image to the original. The authorship of many works is questioned; other possible authors include: Pietro Perugino, Francesco Francia, Lorenzo di Credi.

Portraits created before moving to Florence

An oil on wood work (45 cm by 31 cm), executed in 1502, is exhibited in (Galleria Borghese).

Until the 19th century the authorship of the portrait was attributed to Perugino, but recent research indicates that the masterpiece was painted by the early Raphael. Perhaps this is an image of one of the dukes, the artist's contemporaries. Flowing curls of hair and the absence of facial defects somewhat idealize the image, this did not correspond to the realism of the artists of northern Italy at that time.

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A portrait of Elizabeth Gonzaga, created in 1503, measuring 52 cm by 37 cm, is exhibited in the Uffizi Gallery.

Elizabeth was the sister of Francesco II Gonzaga and the wife of Guidobaldo da Montefeltro. The woman’s forehead is decorated with a scorpion pendant, her hairstyle, and clothes are depicted in the fashion of the author’s contemporaries.. According to art historians, the portraits of Gonzaga and Montefeltro were partially painted by Giovanni Santi. Elizabeth was dear to Raphael because she was involved in his upbringing when he was left an orphan.

Portrait of Pietro Bembo, one of Raphael's first works from 1504, represents the young Pietro Bembo, who became a cardinal, practically the artist's double.

In the image long hair the young men gently fall from under the red cap. The hands are folded on the parapet, a piece of paper is clutched in the right palm. Raphael first met Bembo in the castle of the Duke of Urbino. Portrait in oil on wood (54 cm by 39 cm) is on display in the Museum fine arts(Szépművészeti Múzeum) in Budapest, Hungary.

Portraits of the Florentine period

The portrait of a pregnant woman by Donna Gravida (La donna gravida) was executed in 1506 in oil on canvas measuring 77 cm by 111 cm and is kept in Palazzo Pitti.

In the time of Raphael, it was not customary to depict women bearing a child, but the portrait painter painted images close to his soul without regard to dogma. The theme of motherhood, running through all Madonnas, was also reflected in the images of worldly inhabitants. Art historians believe that this could be a woman of the Bufalini family, Città di Castello or Emilia Pia da Montefeltro. Belonging to a wealthy class is indicated by a fashionable outfit, jewelry on the hair, rings with precious stones on the fingers and a chain around the neck.

Portrait of a Lady with a Unicorn (Dama col liocorno) in oil on wood, 65 cm by 61 cm, painted in 1506, is exhibited in the Borghese Gallery.

Presumably, Giulia Farnese, the secret love of Pope Alexander VI, posed for the image. The work is interesting because during numerous restorations the image of the lady was changed many times. The X-ray image shows the silhouette of a dog instead of a unicorn. Perhaps the work on the portrait went through several stages. Raphael may have been the author of the figure's torso, landscape and sky. Giovanni Sogliani could have painted the columns on the sides of the loggia, arms with sleeves and a dog. Another later coat of paint increases the volume of the hairstyle, changes the sleeves and completes the dog. After a few decades, the dog becomes a unicorn, hands are rewritten. In the 17th century, the lady becomes St. Catherine in a cloak.

Self-portrait

Self-portrait (Autoritratto) measuring 47.5 cm by 33 cm, executed in 1506, is kept in the Uffizi Gallery, Florence.

The work belonged to Cardinal Leopoldus Medices for a long time; since 1682 it has been included in the collection of the Uffizi Gallery. A mirror image of the portrait was painted by Raphael on the fresco “Scuola di Atene” in the main hall of the Vatican Palace (Apostolic Palace (Palazzo Apostolico)). The artist depicted himself in a modest black robe, adorning it with only a small strip of white collar.

Portrait of Agnolo Doni, portrait of Maddalena Doni

The portrait of Agnolo Doni and the portrait of Maddalena Doni (Portrait of Agnolo Doni, Portrait of Maddalena Doni) were painted in oil on wood in 1506 and complement each other perfectly.

Agnolo Doni was a wealthy wool merchant and commissioned a painting of himself and his young wife (nee Strozzi) immediately after their wedding. The image of the girl is created in the likeness of “Mona Lisa” (Leonardo da Vinci): the same rotation of the body, the same position of the hands. Careful detailing of clothing and jewelry indicates the couple's wealth.

Rubies symbolize prosperity, sapphires symbolize purity, and the pearl pendant on Maddalena's neck symbolizes virginity. Previously, both works were connected together by hinges. From the mid-20s. XIX century descendants of the Doni family pass on the portraits.

The painting The Mute (La Muta) in oil on canvas measuring 64 cm by 48 cm was made in 1507 and exhibited in the National Gallery of the Marche (Galleria nazionale delle Marche) in Urbino.

The prototype of the image is considered to be Elisabetta Gonzaga, wife of Duke Guidobaldo da Montefeltro. According to another version, it could be the Duke's sister Giovanna. Until 1631, the portrait was in Urbino; ​​subsequently it was transported to Florence. In 1927, the work was again returned to the artist’s homeland. In 1975, the painting was stolen from the gallery, and a year later it was discovered in Switzerland.

Portrait of a Young Man in oil on wood (35 cm by 47 cm), painted in 1505, is exhibited in Florence, in the Uffizi.

Francesco Maria della Rovere, shown here, was the son of Giovanni Della Rovere and Juliana Feltria. His uncle appointed the young man as his heir in 1504 and immediately commissioned this portrait. A young man in a red robe is presented in the modest nature of northern Italy.

The portrait of Guidobaldo da Montefeltro (Ritratto di Guidоbaldo da Montefeltro) in oil on wood (69 cm by 52 cm) was executed in 1506. The work was kept in the castle of the Dukes of Urbino (Palazzo Ducale), after which it was transported to the city of Pesaro.

In 1631, the painting entered the collection of Ferdinando II de Medici's wife, Vittoria della Rovere. Montefeltro, dressed in black, is placed in the center of the composition, which is framed by the dark walls of the room. Shown on the right open window with nature behind him. The stillness and asceticism of the image for a long time prevented Raphael from being recognized as the author of the painting.

Stanzas of Raphael in the Vatican

In 1508, the artist moved to Rome, where he remained until his death. The architect Domato Bramante helped him become an artist at the papal court. Pope Julius II gives his protégé the state rooms (stanzas) of the old Vatican palace, later named (Stanze di Raffaello), to be painted. Having seen Raphael's first work, the pope ordered his drawings to be applied to all surfaces, removing the frescoes of the other authors and leaving only the lampshades untouched.

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The literal translation of “Stanza della Segnatura” sounds like “signature room”; it is the only one that was not renamed according to the theme of the frescoes.

Raphael worked on its painting from 1508 to 1511. In the room, royalty signed important papers and there was a library right there. This is the 1st stanza out of 4 that Raphael worked on.

Fresco "School of Athens"

The second title of the “Scuola di Atene”, the best of the frescoes created, is “Philosophical Conversations” (“Discussioni filosofiche”). The main theme - the dispute between Aristotle (Aristotels) and Plato ((Plato), written with Leonardo da Vinci) under the arches of a fantastic temple, is intended to reflect philosophical activity. The length at the base is 7 m 70 cm, more than 50 characters are placed in the composition, among which are Heraclitus ((Heraclitus), painted with), Ptolemy ((Ptolemaeus), self-portrait of Raphael), Socrates (Sokrates), Diogenes (Diogen), Pythagoras (Pythagoras), Euclid ((Evklid), written with Bramante), Zoroaster ( Zoroastr) and other philosophers and thinkers.

Fresco "Disputation", or "Dispute about Holy Communion"

The size of the “Dispute about Holy Communion” (“La disputa del sacramento”), symbolizing theology, is 5 m by 7 m 70 cm.

In the fresco, the heavenly inhabitants are engaged in a theological debate with earthly mortals (Fra Beato Angelico, Augustinus Hipponensis, Dante Alighieri, Savonarola and others). The clear symmetry in the work is not depressing; on the contrary, thanks to Raphael’s gift for organization, it seems natural and harmonious. The leading figure of the composition is a semicircle.

Fresco “Wisdom. Moderation. Force"

Fresco “Wisdom. Moderation. Strength" (“La saggezza. La moderazione. Forza”) is placed on the wall cut through by a window. Another name for a work glorifying secular and ecclesiastical legislation is “Jurisprudence” (Giurisprudenza).

Below the figure of Jurisprudence on the ceiling, on the wall above the window there are three figures: Wisdom looking into the mirror, Strength in a helmet and Temperance with reins in hand. On the left side of the window is the Emperor Justinian (Iustinianus) and Tribonianus (Tribonianus) kneeling in front of him. On the right side of the window is an image of Pope Gregory VII (Gregorius PP. VII) presenting the decrees of the popes to a lawyer.

Fresco "Parnassus"

The fresco “Parnassus” (“he Parnassus”) or “Apollo and the Muses” (“Apollo and the Muses”) is located on the wall opposite “Wisdom. Moderation. Powers" and depicts ancient and modern poets. In the middle of the image is the ancient Greek Apollo with a hand-made lyre, surrounded by nine muses. On the right are: Homer, Dante, Anakreon, Virgil, on the right are Ariosto, Horatius, Terentius, Ovidius.

The theme for the painting of Stanza di Eliodoro is the intercession of higher powers for the Church. The hall, work on which has been going on since 1511. to 1514, was named after one of the four frescoes painted by Raphael on the wall. The master's best student, Giulio Romano, helped the teacher in his work.

Fresco “The Expulsion of Eliodor from the Temple”

The fresco “Cacciata di Eliodoro dal tempio” depicts the legend according to which the loyal servant of the Seleukid royal dynasty, military leader Eliodorus, was sent to Jerusalem to collect the treasury of widows and orphans from the Temple of Solomon.

When he entered the temple hall, he saw a rushing angry horse with an angel rider. The horse began to trample Eliodor with its hooves, and the rider's companions, also angels, struck the robber several times with a whip. Pope Julius II is represented in the fresco as an outside observer.

Fresco "Mass in Bolsena"

Rafael Santi worked alone on the fresco “Mass in Bolsena” without involving assistants. The plot depicts a miracle that happened in the Temple of Bolsena. The German priest was about to begin the rite of communion, deep down not believing in its truth. Then 5 streams of blood flowed from the wafer (cake) in his hands (2 of them are a symbol of Christ’s pierced hands, 2 of his feet, 1 of them is blood from the wound of his pierced side). The composition contains notes of a clash with German heretics of the 16th century.

Fresco "Bringing the Apostle Peter out of prison"

The fresco “The Deliverance of the Apostle Peter from Prison” (“la Delivrance de Saint Pierre”) is also the work entirely of Raphael. The plot is taken from the “Acts of the Apostles”, the image is divided into 3 parts. In the center of the composition is the radiant Apostle Peter, imprisoned in a gloomy prison cell. On the right, Peter and the angel emerge from captivity while the guards are sleeping. On the left is the third action, when the guard wakes up, discovers the loss and raises the alarm.

Fresco “Meeting of Leo I the Great with Attila”

A significant part of the work “The Meeting between Leo the Great and Attila”, more than 8 m wide, was made by Raphael’s students.

Leo the Great has the appearance of Pope Leo X. According to legend, when the leader of the Huns approached the walls of Rome, Leo the Great went to meet him along with other members of the delegation. With his eloquence, he convinced the invaders to abandon their intentions to attack the city and leave. According to legend, Attila saw a clergyman behind Leo, threatening him with a sword. It could have been the Apostle Peter (or Paul).

Stanza dell’Incendio di Borgo is the finishing hall that Raphael worked on from 1514 to 1517.

The room was named after the main and best fresco by Raphael Santi, “Fire in the Borgo” by the maestro. His students worked on the rest of the paintings according to the given drawings.

Fresco “Fire in Borgo”

In 847, the Roman quarter of Borgo, adjacent to the Vatican Palace, was engulfed in flames. It grew until Leo IV (Leo PP. IV) appeared from the Vatican Palace and stopped the disaster with the sign of the cross. In the background is the old facade of St. Peter's Basilica. On the left is the most successful group: an athletic young man carries his old father out of the fire on his shoulders. Nearby, another young man is trying to climb the wall (presumably the artist painted himself).

Stanza of Constantine

Raphael Santi received the order to paint the “Hall of Constantine” (“Sala di Costantino”) in 1517, but only managed to make sketches of the drawings. Sudden death genius creator prevented him from finishing his work. All frescoes were executed by Raphael's students: Giulio Romano, Gianfrancesco Penni, Raffaellino del Colle, Perino del Vaga.

1. Giovanni Santi insisted that the mother feed the newborn Raphael herself, without resorting to the help of a nurse.
2. About four hundred drawings of the maestro have survived to this day., among which there are sketches and images of lost paintings.
3. The artist’s amazing kindness and spiritual generosity manifested itself not only in relation to close people. Raphael spent his entire life caring like a son for one poor scientist, translator of Hippocrates into Latin, Rabio Calve. The learned man was as holy as he was learned, so he did not accumulate a fortune for himself and lived modestly.
4. In the monastery records, Margarita Luti was designated as “the widow of Raphael.” In addition, while examining the layers of paint on the painting “Fornarina,” restorers discovered a ruby ​​ring underneath, possibly a wedding ring. The pearl decoration in the hair of “Fornarina” and “Donna Velata” also indicates marriage.
5. A painful bluish spot on the Fornarina's chest suggests that the woman had breast cancer.
6. In 2020 it will be 500 years since the death of the brilliant artist. In 2016, for the first time in Russia, an exhibition of Raphael Santi was held in Moscow, at the Pushkin State Museum of Fine Arts. At the exhibition entitled “Raphael. Poetry of the Image”, 8 paintings and 3 graphic drawing, collected from various museums in Italy.
7. Children are familiar with Raphael (aka Raf) as one of the “Teenage Mutant Ninja Turtles” in the cartoon of the same name, who wields a piercing bladed weapon – the sai, which looks like a trident.

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Raphael Santi (1483-1520) is the greatest Italian artist, architect and graphic artist.

Childhood and adolescence

Raphael was born on March 14, 1483. This happened in eastern Italy in the small town of Urbino on the night of Good Friday. The child's father, Giovanni dei Santi, was engaged in poetry and painting; he was a gifted but undistinguished artist; he worked at the court of the Duke of Montefeltro.

The boy's mother, Margie Charla, died very early. Rafael was only 8 years old at the time. Didn't pass three years, how his father passed away in 1494. But Giovanni managed to direct the children in the right direction, and Raphael also received his first artistic experience in his workshop.

The boy was still very young when his father discovered his artistic talent and inclination for art and began to train his son in painting. And very soon he received an assistant in the person of young Raphael, the child was not even ten years old when he and his father painted pictures commissioned by the Urbino state. Raphael's very first work is considered to be the fresco "Madonna and Child", which he made together with his father.

Raphael's first independent works were paintings commissioned for the church:

• “A banner with the image of the Holy Trinity” (the canvas was written in 1499-1500);
• "Coronation of St. Nicholas of Tolentino" (Santi worked on this altar image in 1500-1501).

Study in Perugia

In 1501, Santi entered Perugia to further study painting with the artist Pietro Perugino, who at that time occupied a leading position among Italian masters. The young student thoroughly studied the manner of his teacher, began to imitate it so decisively and accurately that soon copies of Raphael could not be distinguished from original paintings the famous Perugino.

With the utmost skill, Santi completed the work for Madame Magdalena degli Oddi (not with paint on canvas, but with oil on wood). Now this creation is in the Church of San Francesco in Perugia, it depicts the Mother of God, Jesus Christ and the twelve apostles around the tomb, contemplating a heavenly vision.

Raphael's early works of that period also include paintings:

• "Three Graces";
• "Archangel Michael Slaying Satan";
• "A Knight's Dream"
• "The Sermon of Saint John the Baptist."

While studying in Perugia, Raphael often came home to the Urbino town of Citta de Castella, where, together with the Italian artist Pinturicchio, he made commissioned works.

In 1502, Santi painted his very first “Madonna Solly”, then he painted them until the end of his life.

By 1504, the artist had already developed a certain style, and his first significant works appeared:

• “Betrothal of the Virgin Mary to Joseph”;
• "Portrait of Pietro Bembo";
• "Madonna Conestabile";
• "Saint George Slaying the Dragon";
• "Coronation of Mary".

Florentine period of life

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

His paintings from the Florentine period already showed the complex formulas of agitated and dramatic human movement that Michelangelo had previously developed.

In 1507, Santi wrote another masterpiece, “Entombment.”

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

But main theme His Florentine paintings included the Madonna and Child, and he painted about 20 paintings. Despite the standard scenes, the Madonna holding a baby in her arms or playing next to her with John the Baptist, all images are absolutely individual. A special maternal tenderness is visible in these works. Most likely, it was due to the fact that Raphael’s mother died very early, such a loss was deeply reflected in the artist’s soul; he did not receive all the affection and kindness from the woman who gave him life.

The Madonnas depicted in his paintings led to Raphael's success and fame. He received a huge number of orders on similar topics, during this period Santi wrote his best works:

• "Madonna Granduca";
• "Madonna under the canopy";
• "The Beautiful Gardener" (or "Madonna and Child and John the Baptist");
• "Madonna Terranuova";
• "Madonna with Carnations";
• "Madonna with the Goldfinch."

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

In Florence, Santi met and became friends with Donato Bramante, who later played a significant role in the artist’s life.

Vatican

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

Here, with the help of his friend Bramante, Raphael was hired to work at the papal court as an official artist. He began to paint frescoes and brilliantly painted the Stanza della Segnatura with multi-figure compositions. Pope Julius II was pleased with his work. Santi had not yet completed one stanza when the Pope entrusted him with painting three more; Moreover, the painters who had already begun to paint them (Perugino and Signorelli) were suspended from work.

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

In 1513, Julius II was replaced by Leo X, who also appreciated Raphael’s abilities and entrusted him with making cardboards for the Sistine Chapel, where they would depict Bible stories. Leo X also commissioned the artist to create loggias that overlook the Vatican courtyard. Over the course of 5 years, these loggias of 13 arcades were built according to Santi’s ideas. Then the artist made sketches of Biblical scenes, and his students decorated the loggia with 52 frescoes.

In 1514, Raphael's friend and mentor Donato Bramante died. At this time, construction of St. Peter's Cathedral had just begun in Rome, and Santi was appointed to the position of chief architect. And a year later, in 1515, he was approved as the chief custodian of antiquities. It was Raphael, who succeeded the deceased Bramante, who completed the famous Vatican courtyard with loggias.

The workload in the Vatican was crazy, but at the same time Santi still managed to work on altar images on orders from churches. His painting “Transfiguration” is considered the most majestic and masterpiece.

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

• "Madonna in a Chair";
• "Madonna with the Fish";
• "Madonna Alba";
• "Madonna Foligno".

Here he created the pinnacle of his creativity - the Sistine Madonna.

This painting is considered phenomenal, no one will ever be able to unravel the secret of the great artist, how he managed to combine all the shades, shapes and lines into a single whole, that when looking at this picture there is only one irresistible desire - to continuously look into the sad eyes of Mary .

Most of Raphael's paintings were painted on religious themes. But his work also included portraiture. The following were especially beautifully created:

• "Portrait of Pope Julius II";
• "Portrait of Baldassare Castiglione";
• "Portrait of Bindo Altoviti";
• "Portrait of Leo X with Cardinals Giulio de' Medici and Luigi Rossi";
• "Portrait of Cardinal Alessandro Farnese."

Raphael last depicted himself in the painting “Self-Portrait with a Friend.”

A great lover of painting, the owner of the bank, Agostino Chigi, suggested that Santi decorate his residence outside the city, built on the banks of the Tiber, with frescoes on the theme of ancient mythology. While working on this order, the artist created his own best work, which is called the most beautiful of the beautiful, is “The Triumph of Galatea.”

Raphael had a lot of students, however, none of them became an outstanding artist. Giulio Romano had the greatest talent, but his work was not appreciated by his contemporaries. Several paintings were painted by Giovanni Nanni. Perin del Vaga, who worked in Genoa and Florence, turned out to be a good artist. Francesco Penni had excellent potential, but he died very early.

Raphael's other talents

Santi proved himself to be no less a professional in architecture. The churches, chapels, and palazzos built according to his design were distinguished by their grace, rich façade plasticity, restrained noble forms and intimate interiors. Each palace he created had an individual, elegant appearance.

Santi also worked on engravings and drawings. About 400 of his drawings have survived to this day. Raphael did not make the engravings themselves, but created sketches for them. Marcantonio Raimondi made many engravings based on his drawings. One of Santi's graphic works, entitled "Head of a Young Apostle", was sold at Sotheby's at the end of 2012 for a record sum of £29,721,250 (this figure was twice the starting price).

Raphael loved poetry very much, he even wrote a little poetry himself.

Personal life

The great artist’s beloved was his model Margherita Luti, who received the nickname Fornarina.

The girl can be seen in two of his paintings “Donna Velata” and “Fornarina”, and he painted her figure when painting stanzas with frescoes.

Fornarina's father was a baker, they lived in Rome. When young Rafael arrived here, he met Fornarina quite by accident and immediately fell in love. For 3,000 gold pieces, he bought the girl from her father and took her to a villa specially rented for her.

Until the artist's death, Fornarina was his model and main love throughout their lives, for almost 12 years, they lived together, although it cannot be said that the young woman remained faithful to her Raphael. When Santi was painting the villa for the banker Agostino Chigi, Fornarina began an affair with the owner. She was also often not averse to having fun with Raphael's students.

I wrote a picture about this beautiful love story French artist Jean-Auguste-Dominique Ingres, it’s called “Raphael and Fornarina”.

The exact further fate of Fornarina after the death of Raphael is unknown. There are two versions. According to one, she received a decent fortune under a will, led a dissolute life and became the most famous courtesan in Rome. According to the second version, she was tonsured a nun, where she soon died.

Death of an Artist

It is not known for certain why Rafael Santi died. Some sources claim that he felt ill after a stormy night in bed with Fornarina. Modern researchers of his life have suggested that the artist visited the excavations and fell ill with Roman fever, which led to his death.

Santi died on April 6, 1520, barely reaching the age of 37. His body was buried in the Pantheon, the tomb was made with the epitaph: “The great Raphael rested here; during his life nature was afraid of being defeated, and after his death she was afraid to die.”

There is a crater on the planet Mercury that is named after the great Italian Raphael Santi.