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Raphael Sanzio or
Raffaello (
April 6,
1483 –
April 6,
1520) was an
Italian master
painter and
architect of the
Florentine school in
High Renaissance, celebrated for the perfection and grace of his paintings. He was also called
Raffaello Sanzio,
Raffaello Santi,
Raffaello da Urbino or
Rafael Sanzio da Urbino.
Early life and work
Raphael was born in
Urbino.
[1] The surname
Sanzio derives from the
latinization of the Italian,
Santi, into
Santius (also, when signing solely using his baptismal name, "Raphael"). His father,
Giovanni Santi, was also a painter in the court of Urbino.
In
1491, his mother Màgia died; his father died on
August 1,
1494, having already remarried. Thus orphaned at eleven, Raphael was entrusted to his uncle Bartolomeo, a priest. He had already shown talent, according to
Giorgio Vasari - he tells that since childhood Raphael had been "a great help to his father". His father's workshop continued and probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. He is described as a "master" in 1501. In Urbino he came into contact with the works of
Paolo Uccello and
Luca Signorelli. According to Vasari, his father placed him in Umbrian master Pietro
Perugino's workshop as an apprentice "despite the tears of his mother"; the subsequent influence of Perugino on Raphael's early work is most obvious. The evidence of an apprenticeship comes only from Vasari, and has been disputed. But most modern historians agree that Raphael worked as an assistant to Perugino around 1500.
[1]
His first documented work was an altarpiece for the church of San Nicola of Tolentino in Città di Castello, a town halfway between
Perugia and Urbino. It was ordered in
1500 and finished in
1501 (it was later seriously damaged during an earthquake in
1789 and today only fragments of it remain). In the following years he painted works for other churches there (like the Wedding of the Virgin, today in the
Brera) and for Perugia.
Florentine period
Moving to
Florence when he was around 20, he was exposed to
Leonardo da Vinci, "whom he never ceased to admire as a mentor and father figure", and to
Michelangelo, just eight years his senior, "with whom he later had a stormy and competitive relationship." (Leonardo died in 1519, one year before Raphael, but Michelangelo lived until 1564.) Raphael learned from both men, but while he made use of their exploration of human anatomy, he added sentiment to his paintings.
[1] Raphael's time in Florence was very productive and the influences of Leonardo and Michelangelo (who were working on the Mona Lisa and David, respectively, at the time) is unmistakable. At the time, Raphael's paintings bore "a strong [Leonardo] influence with its pyramidal composition, contour, balance and interplay of light and dark (chiaroscuro) and sfumato (extremely fine, soft shading instead of line to delineate forms and features)," while others reveal a Michelangelic inspiration.
[2]
Roman period
At the end of
1508, he moved to Rome (at the urging of
Donato Bramante, the architect of St. Peter's)
[1] and was immediately commissioned by
Julius II to paint some of the rooms at his palace at the
Vatican. This marked a turning point - he was only twenty-five years old, an artist in formation, and had not received commissions of such importance and prestige. He well exploited the situation, and remained almost exclusively in the service of Julius and his successor
Leo X. At the time, he painted "a series of frescoes in the papal apartments" as well as those of the "Stanza della Segnatura, which include his vast
School of Athens."
[1] Similar to Michelangelo, Raphael also included the likeness of his peers in his frescos. So much so that Michelangelo (who was working on the Sistine Chapel at the time) accused Raphael of perceived plagarism and years after Raphael's death, complained in a letter that "everything he knew about art he got from me."
[2]
In
1514 (following Bramante's death), he was named architect of the new
St Peter's[1] Much of his work there was altered or demolished after his death, but he designed other buildings, and for a short time was both the most important architect and painter in Rome. In
1515 he was entrusted with the preservation and recording of the
Vatican collections of ancient sculpture.
After his arrival in
Rome, he devoted his efforts to the great Vatican projects, although he still painted portraits of his two main patrons, the popes
Julius II and his successor
Leo X, the latter portrait considered one of his finest.
One of his most important papal commissions was the
Raphael Cartoons (now
Victoria and Albert Museum), a series of 10 cartoons for tapestries with scenes of the lives of
Saint Paul and
Saint Peter, intended as wall decoration for the
Sistine Chapel. The cartoons were sent to
Bruxelles to be sewn in the workshop of
Pier van Aelst; the first three tapestries were sent to
Rome in
1519. It is possible that Raphael saw the finished series before his death — they were completed in
1520 for
Leo X.
Raphael, who in Rome lived in
Borgo, never married, but it appears that in 1514 he was engaged to Maria Bibbiena (cardinal Medici Bibbiena's niece); she died in
1520. The other woman in his life was
La Fornarina, a beauty named Margherita, the daughter of a baker (
fornaro) named Francesco Luti from Siena who lived at via del Governo Vecchio. Art historians and doctors debate whether the right hand on the left breast in
La Fornarina reveal a cancerous breast tumour detailed and disguised in a classic pose of love.
[3] [1]


Lucretia, engraved by Raimondi after a design by Raphael.
According to Vasari, his premature death on Good Friday (
April 6,
1520,
his 37th birthday) was caused by a night of excessive sex with her, after which he fell into a fever and, not telling his doctors that this was its cause, was given the wrong cure, which killed him. Whatever the cause, in his acute illness Raphael had the wit to receive the last rites, and put his affairs in order. He took the care to dictate his will, in which he left sufficient funds for her care, entrusted to his loyal servant Bavera. Vasari underlines that Raphael was also born on a Good Friday, in
1483, on 27 or 28 March. At his request, he was buried in the
Pantheon.
Printmaking
Raphael made no
prints himself, but entered into a collaboration with
Marcantonio Raimondi to produce
engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created only to be made into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving. The two most famous original prints to result from the collaboration were
Lucretia and
The Massacre of the Innocents. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century.
Legacy
The inscription in his marble sarcophagus, a distichon written by
Pietro Bembo, reads: "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori." Meaning: "Here lies that famous Raphael by whom Nature feared to be outdone while he lived, and when he died, feared herself to die."
Raphael was highly admired by his contemporaries. When compared to
Michelangelo and
Titian, he was sometimes considered inferior; at the same time, it was maintained that none of them shared all the qualities possessed by Raphael, "ease" in particular.


Resurrection of Christ.


La Fornarina.


Madonna with the Fish.


Spasimo.


Saint George.
Chronology of main works
Early works
- Resurrection of Christ (The Kinnaird Resurrection) (1499-1502) - Oil on wood, 52 x 44 cm, São Paulo Art Museum, São Paulo, Brazil
- Angel (fragment of the Baronci Altarpiece) (1500-1501) - Oil on wood, 31 x 27 cm, Pinacoteca Civica Tosio Martinengo, Brescia, Italy
- Angel (fragment of the Baronci Altarpiece) (1500-1501) - Oil on wood, 57 x 36 cm, Louvre, Paris
- Holy Family with Madonna of the Veil (1500-1510) - Galleria Nazionale di Capodimonte, Naples
- St. Sebastian (1501-1502) - Oil on wood, 43 x 34 cm, Accademia Carrara, Bergamo
- The Crowning of the Virgin (Oddi Altar) (c. 1501-1503) - Oil on canvas, 267 x 163 cm, Pinacoteca Vaticana, Vatican, Rome
- The Annunciation (Oddi Altar, predella) (c. 1501-1503) - Oil on canvas, 27 x 50 cm, Pinacoteca Vaticana, Vatican, Rome
- The Adoration of the Magi (Oddi Altar) (c. 1501-1503) - Oil on canvas, 27 x 150 cm, Pinacoteca Vaticana, Vatican, Rome
- The Presentation in the Temple (Oddi Altar, predella) (c. 1501-1503) - Oil on canvas, 27 x 50 cm, Pinacoteca Vaticana, Vatican, Rome
- Madonna Solly (Madonna with the Child) (1500-1504) - Oil on tablet, 53 x 38 cm, Gemäldegalerie, Berlin
- Mond Crucifixion (Città di Castello Altarpiece) (1501-1503) - Oil on wood, 281 x 165 cm, National Gallery, London
- Three Graces (c. 1501-1505) - Musée Condé, Chantilly, France
- St. Michael (c. 1501) - Louvre, Paris
- Portrait of a Man (c. 1502) - Oil on wood, 45 x 31 cm, Galleria Borghese, Rome
- Connestabile Madonna (1502-1503) - Tempera on wood, 17,5 x 18 cm, The Hermitage, St. Petersburg
- Madonna and Child (1503) - Oil on wood, 55 x 40 cm, Norton Simon Museum of Art, Pasadena
- The Marriage of the Virgin (1504) - Oil on roundheaded panel, 174 x 121 cm, Pinacoteca di Brera, Milan
- Vision of a Knight (1504) - Egg tempera on poplar, 17.1 x 17.1 cm, National Gallery, London
- St. George (1504) - Oil on tablet, 31 x 27 cm, Louvre, Paris
- Madonna and Child Enthroned with Saints (Colonna Altarpiece), (1504-1505) - Tempera and gold on wood, 172,4 x 172,4 cm (main panel), Metropolitan Museum of Art, New York
- Portrait of Perugino (c. 1504) - Tempera on wood, 57 x 42 cm, Uffizi, Florence
Florentine period
- Portrait of Elisabetta Gonzaga (c. 1504) - Oil on wood, 52,9 x 37,4 cm, Uffizi, Florence
- Portrait of Pietro Bembo (c. 1504) - Oil on wood, 54 x 69 cm, Museum of Fine Arts, Budapest
- Self-portrait (1504-1506) -
- Madonna of the Grand Duke (c. 1505) - Oil on wood, 84 x 55 cm, Palazzo Pitti, Florence
- The Ansidei Madonna (The Madonna between St. John Baptist and St. Nicholas of Bari) (c. 1505-1506) - Oil on poplar, 274 x 152 cm, National Gallery, London
- Young Man with an Apple (1505) - Oil on wood, 47 x 35 cm, Uffizi, Florence
- Christ Blessing (1505) - Oil on wood, 30 x 25 cm, Pinacoteca Civica Tosio Martinengo, Brescia, Italy
- Madonna Terranova (1504-1505) - Oil on wood, 87 cm, Staatliche Museen zu Berlin
- The Madonna of the Goldfinch (c. 1505) - Uffizi, Florence
- Madonna del Prato (The Madonna of the Meadow) (c. 1505) – Oil on wood, 113 x 88 cm, Kunsthistorisches Museum, Vienna
- St. George and the Dragon (1505-1506) - Oil on wood, 28.5 x 21.5 cm, National Gallery of Art, Washington
- La Donna Gravida (1505-1506) - Oil on wood, 66 x 52 cm, Palazzo Pitti, Florence
- Portrait of Agnolo Doni (1505-1507) - Oil on wood, 63 x 45 cm, Palazzo Pitti, Florence
- Portrait of Maddalena Doni (1505-1507) - Oil on wood, 63 x 45 cm, Palazzo Pitti, Florence
- Madonna of the Pinks (1506)
- ''Young Woman with Unicorn (1506, disputed) - Oil on canvas, 65 x 51 cm, Galleria Borghese, Rome
- Madonna with Beardless St. Joseph (1506) - Tempera on canvas transferred from wood, 74 x 57 cm, The Hermitage, St. Petersburg
- Saint Catherine of Alexandria (1507) - Oil on wood, 72 x 55 cm, National Gallery, London
- Canigiani Holy Family (1507) - Oil on wood, 132 x98 cm, Alte Pinakothek, Munich
- La belle jardinière (1507) - Louvre, Paris
- The Deposition of Christ (The Entombment) (1507-1508) - Oil on wood, 184 x 176 cm, Galleria Borghese, Rome
- The Three Theological Virtues (tryptic) (1507) - Oil on wood, 16 x 44 cm (each), Pinacoteca Vaticana, Vatican, Rome
- Portrait of a Young Woman (La Muta) (1507-1508) - Oil on wood, 64 x 48 cm, Galleria Nazionale delle Marche, Urbino
- The Tempi Madonna (Madonna with the Child) (1508) - Alte Pinakothek, Munich
- La Madonna de Bogota (Madonna with the Child) (1507) - NY Bank Volt, New York
Roman period
- Portrait of Cardinal Alessandro Farnese (1509-1511) - Galleria Nazionale di Capodimonte, Naples
- La disputa (1509-1510) - Fresco, width at base 770 cm, Vatican, Rome
- The School of Athens (1509-1510) - Fresco, width at base 770 cm, Vatican, Rome
- Madonna of Loreto (Madonna del Velo) (1509-1510) - Oil on wood, 120 x 90 cm, Musée Condé, Chantilly, France
- Aldobrandini Madonna (1510) - Oil on wood, 38,7 x 32,7 cm, National Gallery, London
- Madonna with the Blue Diadem (1510-1511) - Oil on wood, 68 x 44 cm, Musée du Louvre, Paris
- Portrait of a Cardinal (1510-1511) - Oil on wood, 79 x 61 cm, Museo del Prado, Madrid
- Alba Madonna (1511) - Oil on canvas, diameter 98 cm, National Gallery of Art, Washington
- The Parnassus (1511) - Fresco, width at base 670 cm, Vatican, Rome
- The Cardinal Virtues (1511) - Fresco, width at base 660 cm, Vatican, Rome
- Portrait of Pope Julius II (1511-1512) - Oil on wood, 108 x 80,7 cm, National Gallery, London
- The Prophet Isaiah (1511-1512) - Fresco, 250 x 155 cm, Sant'Agostino, Rome
- The Expulsion of Heliodorus from the Temple (1511-1512) - Fresco, width at base 750 cm, Vatican, Rome
- Portrait of Pope Julius II (1512) - Oil on wood, 108,5 x 80 cm, Uffizi, Florence
- The Madonna of Foligno (1511-1512) - Oil on wood, 320 x 194 cm, Pinacoteca Vaticana, Vatican, Rome
- The Triumph of Galatea (1511-1513) - Fresco, 295 x 224 cm, Villa Farnesina, Rome
- Portrait of Tommaso Inghirami (1512-1514) - Boston
- Sistine Madonna (c. 1513-1516) - Oil on canvas, 265 x 196 cm, Gemäldegalerie Alte Meister, Dresden
- Madonna della seggiola (Madonna with the Child and Young St. John) (1513-1514) - Oil on wood, diameter 71 cm, Galleria Palatina (Palazzo Pitti), Florence
- Madonna dell'Impannata (1513-1514) - Oil on wood, 158 x 125 cm, Galleria Palatina (Palazzo Pitti), Florence
- Madonna della tenda (1514) - Oil on wood, 65,8 x 51,2 cm, Alte Pinakothek, Munich
- The Fire in the Borgo (1514) - Fresco, width at base 670 cm, Vatican, Rome
- The Meeting of Leo the Great and Attila (1514) - Fresco, width at base 750 cm, Vatican, Rome
- Deliverance of Saint Peter (1514) - Fresco, width at base 660 cm, Vatican, Rome
- Portrait of Bindo Altoviti (c. 1514) - Oil on tablet, 60 x 44 cm - National Gallery of Art, Washington
- The Sibyls (1514) - Fresco, width at base 615 cm,Santa Maria della Pace, Rome
- The Ecstasy of St. Cecilia (1514-1516) - Oil on wood, 220 x 136 cm, Pinacoteca Nazionale, Bologna
- Portrait of Balthasar Castiglione (c. 1515) - Oil on canvas, 82 x 67 cm, Louvre, Paris
- Woman with a Veil (La Donna Velata) (1515-1516) - Oil on canvas, 82 x 60,5 cm, Palazzo Pitti, Florence
- Portrait of Tommaso Inghirami (1515-1516) - Oil on wood, 91 x 61 cm, Palazzo Pitti, Florence
- Palazzo Branconio dell'Aquila in Borgo (c. 1515-1517) - Destroyed
- Portrait of Andrea Navagero and Agostino Beazzano (1516) -
- Portrait of Cardinal Bibbiena (c. 1516) - Oil on canvas, 85 x 66,3 cm , Palazzo Pitti, Florence
- Double Portrait (c. 1516) - Oil on canvas, 77 x 111 cm , Galleria Doria Pamphilj, Rome
- Church of Sant'Eligio degli Orefici near Via Giulia (c. 1516)
- Creation of the World (1516) - Mosaic in the Chigi Chapel, Santa Maria del Popolo
- Transfiguration (1517-c. 1520) - Oil on wood, 405 x 278 cm, Vatican Museum, Rome
- Portrait of Pope Leo X with two Cardinals (1517-1518) - Oil on wood, 155 x 118 cm, Palazzo Pitti, Florence
- Christ Falling on the Way to Calvary (1516-1517) - Oil on panel transferred to canvas, 318 x 229 cm, Museo del Prado, Madrid
- The Holy Family of Francis I (1518) - Louvre, Paris
- Ezechiel’s Vision (1518) – Oil on wood, 40 x 29 cm, Palazzo Pitti, Florence
- St. Michael Vanquishing Satan (1518) - Louvre, Paris
- Madonna of the Rose (1518) - Oil on wood, Luke Brugnara Collection
- Self-portrait with a Friend (1518-1519) - Oil on canvas, 99 x 83 cm, Louvre, Paris
- Portrait of a Young Woman (La fornarina) (1518-1519) - Oil on wood, 85 x 60 cm, Galleria Nazionale d'Arte Antica, Rome
- Visitation - Museo del Prado, Madrid
See also
References
1.
^ In Raphael Exhibition, Women Do the Talking, Alan Riding,
The New York Times, Section A; Column 1; Arts & Ideas/Cultural Desk; Pg. 13, December 29, 2001, Saturday Correction Appended.
2.
^ Who was... Raphael?,
The Hindu. Global News Wire - Asia Africa Intelligence Wire. January 4, 2005.
3.
^ "The Portrait of Breast Cancer and Raphael's La Fornarina",
The Lancet, December 21, 2002/December 28, 2002.
External links
Raphael, or Raphael Santi, was an Italian master painter and architect of the Florentine school in High Renaissance
Raphael may also refer to:
- Raphael (archangel), a seraph and archangel in Judaism, Islam, and Christianity
..... Click the link for more information. March 6 is the 1st day of the year (2nd in leap years) in the Gregorian calendar. There are 0 days remaining.
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- 1079 - Omar Khayyám completes the Iranian calendar.
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AnthemIl Canto degli Italiani(also known as
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Events
- 1079 - Omar Khayyám completes the Iranian calendar.
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AnthemIl Canto degli Italiani(also known as
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..... Click the link for more information. AnthemIl Canto degli Italiani(also known as
Fratelli d'Italia)
..... Click the link for more information. Painting, meant literally, is the practice of applying color to a surface (support) such as paper, canvas, wood, glass, lacquer or concrete. However, when used in an artistic sense, the term "painting" means the use of this activity in combination with drawing, composition and
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Pietro Perugino (1446–1524) was a well-known painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance.
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Renaissance (French for "rebirth"; Italian: Rinascimento; Spanish: Renacimiento), was a cultural movement that spanned roughly the 14th through the 17th century, beginning in Italy in the late Middle Ages and later spreading to the rest of Europe.
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The School of Athens or "Scuola di Atene" in Italian is one of the most famous paintings by the Italian Renaissance artist Raphael.
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April 6 is the 1st day of the year (2nd in leap years) in the Gregorian calendar. There are 0 days remaining.
Events
- 648 BC - Earliest solar eclipse recorded by the Ancient Greeks.
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April 6 is the 1st day of the year (2nd in leap years) in the Gregorian calendar. There are 0 days remaining.
Events
- 648 BC - Earliest solar eclipse recorded by the Ancient Greeks.
..... Click the link for more information. 15th century - 16th century - 17th century
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AnthemIl Canto degli Italiani(also known as
Fratelli d'Italia)
..... Click the link for more information. Painting, meant literally, is the practice of applying color to a surface (support) such as paper, canvas, wood, glass, lacquer or concrete. However, when used in an artistic sense, the term "painting" means the use of this activity in combination with drawing, composition and
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An architect is a person who is involved in the planning, designing and oversight of a building's construction. The word "architect" (Latin: architectus) derives from the Greek arkhitekton (arkhi (chief) + tekton (builder))")[1]
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High Renaissance is an art term denoting the culmination of the Italian Renaissance art between 1500 and 1525. Because Pope Julius II patronized many artists during this time, the movement was centered in Rome; it had previously been centered in Florence.
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Country Italy
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Latinisation is the practice of writing a name in a Latin style when writing in Latin so as to more closely emulate Latin authors, or to present a more impressive image. It is done by transforming a non-Latin name into Latin sounds (e.g.
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Giovanni Santi (c. 1435 – August 1 1494), was an Italian painter and poet, father of Raphael. He was born at Colbordolo in the Duchy of Urbino, was a petty merchant for a time, then studied under Piero della Francesca, was influenced by Fiorenzo di Lorenzo, and seems to have
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Giorgio Vasari
Vasari's self-portrait
July 30, 1511
Arezzo, Tuscany
June 27, 1574
Florence, Italy
Italian
Painting, architect
Andrea del Sarto
Renaissance
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