Art research conducted in preparation for Italy trip. The purpose of the presentation was to educate about the art done by Raphael, so that we can better appreciate these masterpieces.
Italian Renaissance. His career started during his teens in his hometown, Urbino. His father, Giovanni Santi, taught Raphael how to paint at a very young age, and he apprenticed with painter, Perugino. In 1504, he moved to Florence, where he drew inspiration from Da Vinci and Michelangelo. The third phase of his painter career is defined in Rome, when he was commissioned to paint the Stanza della Segnatura in the Vatican Palace in 1508. R A F F A E L L O S A N Z I O 1 4 8 3 1 5 2 0
his own. His method was to harmonize, through a controlling intelligence and disciplined technical skill, the separate individual elements carefully gleaned from the various sources at his disposal.” C O L L A B O R A T I O N A N D I N C O R P O R A T I O N
emotion but depicted as being divine through use of color and intricacy in decor. The High Renaissance was embodiment of the naturalist movement, in which figures became represented in a more three dimensional perspective, by use of newly developed techniques and ideals rooted in classical antiquity and humanism. B Y Z A N T I N E R E N A I S S A N C E The Aldobrandini Madonna, 1519 Madonna Enthroned with Saints and Angels, 1390
A R I N A P A L A Z Z O B A R B E R I N I I N R O M E Up to this day, it remains a mystery as to who this woman actually is. Is she Raphael’s mistress? His secret wife? Or someone else’s? There is also no record of why this painting was commissioned. However, what can be said of this painting is the sensuality that is apparent in the way Raphael painted her skin, the way she is posing and the delicate details.
visuals of live models, but eliminated dissonance and flaws, replacing the imperfect with his concept of the proper, satisfying form. Raphael found it quite difficult to paint the image of a beautiful woman. In order to paint one he had to first see many, allowing him to be able to call from an array of examples to satisfy the “certain idea he had in mind” to guide his choice. C E R T A I D E A
her nose is overly large. Her beauty is not conventional - the face being less beautiful than the rest of her figure: it is lacking in the “certa idea” because its individualization becomes more stressed - part of why some people believe her to be more than a mythical lover, but rather as the actual person." D U A L I T Y
C O M P O S I T I O N "The pyramidal composition was a stable structure used to ground the positioning of portraits to the bottom of their frame. Often this pyramid goes off to the side a bit in order to break symmetry and created a more asymmetrical flow.“
D I V I N E C E L E S T I A L B A C K G R O U N D C L A S S I C A L , G E O M E T R I C A R C H I T E C T U R E C H R I S T I A N I T Y E A R T H H U M A N S C I V I L I Z A T I O N T H O U G H T + R E A S O N
a more muted effect which in turn strengthened the unity of his compositions. He was able to achieve an overall balance that avoided disrupting spatial illusions. These seamlessly fused colours created a subtle beauty for his work. H A R M O N I O U S C O L O U R
S O F P R E S E N T A T I O N W E R E A N O B J E C T I V E O F R A P H A E L ’ S S T Y L E ; F O R T H E M O S T P A R T H E S O U G H T B A L A N C E R A T H E R T H A N D I S S O N A N C E . ”
L E S A N D L A B O U R A R E M A S K E D B Y A S E A M L E S S S U R F A C E O F G R A C E A N D E A S E , C O N V I N C I N G T H E E Y E O F W H A T M U S T B E C A L L E D I N T O D O U B T B Y T H E M I N D : T H A T S U C H A N O U T C O M E C A N O C C U R N A T U R A L L Y W I T H O U T T H E A I D O F E F F O R T O R C A L C U L A T I O N . ” S P R E Z Z A T U R A
S I O N Through the whole composition there is a sense of pulling in one direction and then pulling in an- other. Wind whips her hair and drapery to the left so they look as if they’re almost pushing horizon- tally. In contrast, her arms are holding her dol- phins’ reigns which are pulling to the left. Even the sea nymphs surrounding her seem to move out, pulling her in different directions, moving in opposing directions. The spinal twisting of Galatea’s figure is a very typical pose of the high renaissance. 1 5 1 3
it is still of high renaissance – rooted in clarity and order. We can see an underlying pyramidal composition, grounding the work. Additionally, the arrows of the three amorini direct the eyes of the viewer to Galatea, as well as the two other core groups of figures. S T A B I L I T Y A N D B A L A N C E
physicality of the bodies, providing the figures with a sense of ability to move through space. The back muscles of the sea creatures are reminiscent of Michelangelo. Galatea herself shows Raphael’s process of idealized beauty – where he blends reality with his own ideals.
A C O L L A B O R A T I O N A N D I N C O R P O R A T I O N G E O M E T R I E S Work appeared effortless, but his composures were actually based on calculation Was ready to learn from all art he viewed, and from all the experts with whom he came into contact It is through the use of geometry that he is able to create balance and harmony within his work
H W E H A V E F R O M H I M A R T , C O L O U R I N G , A N D I N V E N T I O N H A R M O N I Z E D A N D B R O U G H T T O S U C H A P I T C H O F P E R F E C T I O N A S C O U L D S C A R C E L Y B E H O P E D F O R ; N O R M A Y A N Y I N T E L L E C T E V E R T H I N K T O S U R P A S S H I M . ” V A S A R I O N R A P H A E L
I E S T H A T F A M O U S R A P H A E L . . . ” Unfortunately, Raphael died at the very young age of 37 caused by a high fever on April 6th, 1520 (which was Good Friday and his birthday). His illness, which lasted 15 days, let him put his affairs in order, in which he requested to be buried in the Pantheon. Many gathered at his funeral to mourn the loss of a brilliant maker.
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