Raphael artist biography. Raphael paintings. Photo. Artist Raphael Santi biography. In four years, he turned from a timid provincial painter into a real master, confidently possessing all the secrets of the school necessary for him to work.

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

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

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

In 1508, Raphael moved to work in the Vatican in Rome. He lived the rest of his life here. His influential family ties also played a huge role in his invitation to the Vatican. With the assistance of his uncle Donato Bramante (a renowned architect and painter of the time), Raphael Santi becomes the official painter of the papal court. He, at the invitation of Pope Julius II, arrives to fulfill the order for the fresco painting of Stanza della Seniatura, the first Michelangelo, who receives an official invitation a few months later. Raphael's first commissioned job in Rome was his largest and highest-paid job ever. He was supposed to make frescoes in the room that was to become the library of Julius II in the Vatican Palace. There were already similar works in different rooms, but they were mostly painted over, as they were ordered by the predecessor and worst enemy of Pope Julius II, Rodrigo Borgia, Pope Alexander VI. Raphael's works in this room were some of the artist's finest works. These include Parnassus, The School of Athens, Dispute, Virtues and the Law.

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

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

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

His studio studio has been described as one of the largest ever owned by a master. Undoubtedly, he took over a lot of the experience of running the workshop from his father. Unlike the workshop organized by Michelangelo, Raphael's workshop was faster and more productive.

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

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

Raphael often painted drawings, sometimes using a silver tip. The drawing made in this way is initially bluish-gray. Gradually, after oxidation, it acquires a brownish tint. As can be seen from his many drawings, he was a highly innovative artist. Raphael never made copies of his works, but willingly entered into collaborations with other artists and allowed them to use his sketches to create engravings.

The artist has never been married. For some time he was carried away by Margarita Luti (Fornarina - the baker), the daughter of a wealthy baker.

According to one version, numerous tumultuous games with his mistresses led to his premature death at thirty-seven years old. Still, this version is the subject of serious controversy. According to another version, he fell ill after intercourse with Fornarina. But if we take into account the large amount of work that the artist performed, the customs of those times, the general state of health of the population of that century and the fact that then people did not live long at all, it can be assumed that all this together, in general, could have caused Raphael's early death. In any case, after so many hundreds of years have passed since the day of his death, now one can only speculate about its cause, since some facts of the biography remain unknown, and instead a lot of conjectures, rumors, fantasies and guesses have appeared. The artist bequeathed his considerable fortune to Margarita Luti, friends and students. After his death, Raphael was buried in the Pantheon, of his own accord.

Raphael is undoubtedly one of the leading artists of the Renaissance. Together with Titian, Donatello, Leonardo da Vinci, Michelangelo, Shakespeare, and a small group of his contemporaries, Raphael became the center of the movement of artistic figures who replenished with their masterpieces not only Western, but also world culture.

"Sistine Madonna". The painting is 196 cm x 265 cm, executed in oil on canvas in 1514. Located in the Gallery of Old Masters, Dresden, Germany.

"The Beautiful Gardener" (Madonna and Child with John the Baptist) measuring 80 cm. 122 cm. Executed in oil on a board around 1507. Located in the Louvre, Paris.

"Madonna with the Goldfinch". The painting measuring 77 cm x 107 cm was made in oil on a board in 1506. Located in the Uffizi Gallery, Florence, Italy.

Madonna in the Green (Belvedere Madonna). The painting measures 88 cm x 113 cm, made in oil on board in 1506. Located in the Kunsthistorisches Museum, Vienna, Austria.

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

"Madonna in the Chair". The painting measures 71 cm x 71 cm, made in oil in 1514. Located in Palazzo Pitti, Florence, Italy.

"Madonna Granduca". The painting measures 55.9 cm x 84.4 cm, made in oil on a board in 1504. Located in the Palatine Gallery of the Palazzo Pitti, Florence.

Madonna Alba. Painting in the form of a tondo measuring 94.5 cm x 94.5 cm, painted in 1511, transferred in oil to canvas. Located at the National Gallery of Art, Washington DC, USA.

"Madonna Tempi". The painting is 51 cm x 75 cm in oil on board in 1507. Located in the art gallery "Alte Pinakothek", Munich, Germany.

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

"Three Graces". The painting is 17 cm x 17 cm, made in oil on board in 1504. Located in the Musée Condé, Chantilly, France.

"Cardinal Bibbiena". A portrait measuring 76 cm x 107 cm, painted in oil on a board, circa 1516, located in the Palazzo Pitti.

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

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

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

Fornarina. The portrait supposedly depicts Raphael's beloved woman. It measures 60 cm x 85 cm.It was painted in oil on a blackboard in 1519. Located in Palazzo Barberini, Rome.

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

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

"Dispute". A fresco measuring 770 cm x 500 cm, painted in 1510 in the Stanza della Senyatura.

"Virtues and the Law". The fresco is 660 cm wide, painted between 1508 and 1511. in the Stanza della Senyatura.

Rafael Santi (Italian Raffaello Santi, Raffaello Sanzio, Rafael, Raffael da Urbino, Rafaelo; March 26 or 28, or April 6, 1483, Urbino - April 6, 1520, Rome) - the great Italian painter, graphic artist and architect, representative of the Umbrian school.

Raphael lost his parents early. Mother, Margie Charla, died in 1491, and father, Giovanni Santi, died in 1494.
His father was an artist and poet at the court of the Duke of Urbinsky, and Raphael received his first experience as an artist in his father's workshop. The earliest work is the fresco "Madonna and Child", which is still in the house-museum.

Among the first works are the "Banner with the Image of the Holy Trinity" (about 1499-1500) and the altarpiece "The Coronation of St. Nicholas of Tolentino "(1500-1501) for the Church of Sant'Agostino in Citta di Castello.

In 1501, Raphael came to the workshop of Pietro Perugino in Perugia, so the early works were done in the Perugino style.

At this time, he often leaves Perugia home to Urbino, to Citta di Castello, together with Pinturicchio visits Siena, performs a number of works on orders from Citta di Castello and Perugia.

In 1502, the first Raphael Madonna appears - "Madonna Sulli", Madonna Raphael will write all his life.

The first paintings, written not on religious themes - "The Knight's Dream" and "Three Graces" (both - about 1504).

Gradually Raphael develops his own style and creates the first masterpieces - "The Betrothal of the Virgin Mary to Joseph" (1504), "The Crowning of Mary" (about 1504) for the altar of Oddi.

In addition to large altarpieces, he paints small paintings: "Madonna Conestabile" (1502-1504), "Saint George Slaying the Dragon" (about 1504-1505) and portraits - "Portrait of Pietro Bembo" (1504-1506).

In 1504 he met Baldassar Castiglione in Urbino.

At the end of 1504 he moved to Florence. Here he met Leonardo da Vinci, Michelangelo, Bartolomeo della Porta and many other Florentine masters. Thoroughly studies the painting technique of Leonardo da Vinci, Michelangelo. A drawing by Raphael from the lost painting by Leonardo da Vinci "Leda and the Swan" and a drawing from "St. Matthew ”Michelangelo. "... the techniques that he saw in the works of Leonardo and Michelangelo made him work even harder in order to derive unprecedented benefits from them for his art and his manner."

The first order in Florence comes from Agnolo Doni for portraits of him and his wife, the last one was painted by Raphael under the obvious impression of La Gioconda. It was for Agnolo Doni that Michelangelo Buonarroti created the Madonna Doni tondo at this time.

Raphael painted the altar canvases "Madonna enthroned with John the Baptist and Nicholas of Bari" (about 1505), "Entombment" (1507) and portraits - "The Lady with the Unicorn" (about 1506-1507).

In 1507 he met Bramante.

Raphael's popularity is constantly growing, he receives many orders for the images of saints - “The Holy Family with St. Elizabeth and John the Baptist "(about 1506-1507). The Holy Family (Madonna with a beardless Joseph) (1505-1507), St. Catherine of Alexandria "(about 1507-1508).

In Florence, Raphael created about 20 Madonnas. Although the plots are standard: the Madonna either holds the Baby in her arms, or he plays next to John the Baptist, all Madonnas are individual and distinguished by a special maternal charm (apparently, the early death of the mother left a deep mark on Raphael's soul).

The growing fame of Raphael leads to an increase in orders for Madonnas, he creates "Madonna Granduc" (1505), "Madonna with carnations" (about 1506), "Madonna under the canopy" (1506-1508). The best works of this period include Madonna of Terranuova (1504-1505), Madonna with a Goldfinch (1506), Madonna and Child with John the Baptist (The Beautiful Gardener) (1507-1508).

In the second half of 1508, Raphael moved to Rome (where he would spend the rest of his life) and became, with the assistance of Bramante, the official artist of the papal court. He was commissioned to paint Stanza della Senyatura with frescoes. For this stanza, Raphael paints frescoes reflecting four types of human intellectual activity: theology, jurisprudence, poetry and philosophy - "Disputation" (1508-1509), "Wisdom, Moderation and Strength" (1511), and the most outstanding "Parnassus" (1509 -1510) and the "School of Athens" (1510-1511).

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Italy has given the world a huge number of great artists, architects and graphic artists. Among them, Rafael Santi shines brightly. An architect known to the modern world, the artist left a rich heritage that surprises and delights true connoisseurs of art.

Biography

Various sources claim the birth of Raphael on March 26 or 28, 1483. According to others, April 6 is the artist's birthday and death. Whom to believe? Decide for yourself. The only known city is the birthplace of Rafael Santi: Urbino.

Childhood was overshadowed by the death of Margie Charl, 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 with bright paint left strokes on the boy's mind, his preferences. The reason for this influence of the surrounding world was the birth in the family of a court artist who worked under the Duke of Urbino. Here the young artist managed to take his first creative steps. The earliest work of the master of painting is considered the fresco "Madonna and Child", which has been kept in the house-museum for many years.

There are few results of creative research, independent search for the way. Among the first were the works of Raphael Santi for the church of Sant'Agostino, located in Citta di Castello:

"Banner with the image of the Holy Trinity" (about 1499-1500)
image for the altar “Coronation of St. Nikola 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 Santi is filled with visits to Urbino, Citta di Castello, accompanied by a teacher to Siena.

1504 There was an acquaintance with Baldassar Castiglione, after which there was a move to Florence, where Rafael Santi lived for several years. Acquainted with Michelangelo, Leonardo da Vinci, other great artists of Italy of this period, Santi gets acquainted with the technique of recognized geniuses, learns, absorbing knowledge and skills like a sponge. The thoughts of the young artist were absorbed by his studies, work on new paintings.

Rafael Santi's drawings were not completely absorbed. The second passion was architecture. The artist learned a lot from his mentors, who gladly shared their experience and knowledge. Rafael Santi's achievements astonished them.

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

Eleven months later, Santi decides to change the situation, 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 art form. Perhaps they were the ones who turned the postulate into reality: truly talented people will show off talents in various fields. Raphael spent a lot of time doing poetic research, creating sonnets dedicated to his beloved.

Rafael Santi's biography includes marriage. At the age of 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 the researchers, Raphael was interested in the architecture of the past. During excavations in Rome, a research architect contracted a special type of Roman fever that caused his death on April 6, 1520. The disease took away the 37-year-old genius, who in his short existence managed to leave a deep mark in various fields of art. Raphael's tomb was adorned with an epitaph:

"Here lies the great Raphael, during his lifetime, nature feared to be defeated, and after his death she was afraid to die"

Creation

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

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

By the age of twenty, the artist Raphael Santi is becoming popular. The young artist is approached to create the images of saints such as St. Catherine of Alexandria "and others.

Raphael Santi: the most famous paintings

"Sistine Madonna", combining the unity of the mortal body, the Holy Spirit, birth, atonement for sins.

Raphael Santi - Sistine Madonna

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

Rafael Santi - The Three Graces

"Madonna Conestabile" is an image filled with tenderness, pure spirituality, lyrics, harmony, love.

Rafael Santi - Madonna Conestabile

The School of Athens is a canvas that combines the images of famous philosophers and teachers of Greek culture. The artist amazed his contemporaries and descendants with the painting.

Raphael Santi - School of Athens

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

Raphael Santi - Self-portrait

"The Lady with the Unicorn" sings the beauty and miracle of the purity of spirit and body.

Raphael Santi - The Lady with the Unicorn

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

Rafael Santi - Makeover

"Lovely gardener." An enchanting image of the Madonna, caring for the world, like a good gardener caring for an orchard.

Rafael Santi - The Beautiful Gardener

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

Rafael Santi - Donna Velata

Raphael Santi - The Betrothal of the Virgin Mary

"Madonna in an armchair", personifying beauty, purity of soul, joy of motherhood.

Raphael Santi - Madonna in the chair

Raphael Santi - Madonna in the Green

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

Raphael Santi - Madonna of the Veil

The Knight's Dream is an image that contains the eternal choice between pleasure and virtue.

Raphael Santi - A Knight's Dream

"Madonna Alba", belonging for a long time to the Spanish family of the same name and embodying the unity of soul, body and Spirit, knowledge of the future path, willingness to follow it.

Rafael Santi - Madonna Alba Category

Features of the work of Rafael Santi (1483-1520), an Italian artist, master of graphics and architecture, a representative of the Umbrian school of painting are described in this article.

Rafael Santi creativity and main ideas

Raphael Santi's work in brief

Creativity embodied the bright and lofty ideals of Renaissance humanism. He lived a short but eventful life. And during this time, the content of Rafael Santi's creativity expanded to the creation of the ideal of a harmoniously developed, beautiful person, surrounded by a stately landscape and architecture. Studying with Perugino, the future artist adopted the freedom of setting figures, the smoothness of lines.

At the age of 17, he has already created a number of paintings, full of spiritual clarity, harmony and maturity - "Madonna Conestabile", "Sistine Madonna", "The Betrothal of Mary".

Arriving in Florence, he absorbed the knowledge of local artists like a sponge. Raphael Santi's main ideas the Florentine period were permeated with the lyrical theme of maternal love (the artist lost his mother at the age of 8). Here he created such paintings: "Madonna with a Goldfinch", "Madonna in the Green", "The Beautiful Gardener". All of them had the same type of composition of the figures of the infant Christ, Mary and the Baptist against the background of a rural landscape. The artist's strokes are soft, melodious and natural.

In 1508, Pope Julius II invited him to Rome to paint the Vatican Palace. The artist worked on the palace for 8 years, which made it possible to nominate him among the three largest masters of monumental art. A distinctive feature of Santi is the decorative system of frescoes with allegorical figures. The Roman period was saturated not only with frescoes, but also with portrait paintings.

Rafael Santi achievements in the field of portrait painting: he painted portraits of Pope Leo X, Julius II, Cardinal Ludovico dei Rossi and Giulio dei Medici. They were poignant and full of life.

But the greatest creation of the master remains the "Sistine Madonna". This is a very deep image of Mary walking through the clouds in her arms with a baby. The picture radiates perfect harmony, dynamic balance, smooth linear outlines, freedom and naturalness of movement.

What did Raphael Santi do for art?

He created his own worldview in art, based on his ideas. The latter were formulated on the basis of Plato's treatises. His paintings from the cycle "Madonna" convey the grace of mothers and beauty, and his portraits - greatness and dignity, bearing the stamp of spirituality. The artist managed to synthesize two worlds: Christian and classical Greek. Historians see this as Santi's main contribution to art. "Hellenized Christianity" incorporated the experience of the author's predecessors, who thoroughly studied it. The master of the brush established a new ideal in the art of the West. He managed to transform humanistic ideas into clear and simple images that convey philosophical and everyday concepts.

Genius artist Raphael Sanzio was born in the small Italian city of Urbino in 1483. Like most Italian cities of that time, Urbino was an independent state ruled by the Duke Federigo de Montefeltro, famous for his love of art and sciences. His son Guidobaldo da Urbino made his court the center of Italy's outstanding minds. Urbino was not an exceptional city in this respect. Love for science, art was a distinctive feature of all Italian cities of the Renaissance.

Raphael Sanzio comes from the family of a small trader, artisan Giovanni Sanzio. Giovanni had his own workshop, in which he painted images, trimmed furniture, saddles, and gilded various objects. The notions of an artisan and an artist were not then divided - all handicraft items were, to a greater or lesser extent, works of art, everything was created on the basis of a high demand for the beauty of a thing. Since childhood, Raphael has participated in the work of his father's workshop. Having shown an early tendency to drawing, he began to study with his father, who, if he was not a wonderful painter, understood and appreciated painting. In his youth, when Giovanni was going through a period of apprenticeship, he often traveled and wrote a lot. His works are still preserved (for example, "Madonna surrounded by saints" in the church of Santa Croce in Fano).

Urbino was not at that time the center of any painting school, like Perugia, Florence or Siena, but the city was often visited by many artists who carried out individual orders and influenced the Urbino painters with their works. Paolo Uchelo, Piero della Francesca and Melozzo da Forli visited Urbino, who made four allegories of the Free Arts for the Urbino court, a work full of stately serenity.

In 1494, when Raphael was only eleven years old, his father died. The Sanzio family consisted at that time of Bernardina, the second wife of Giovanni (Raphael's mother, died when he was eight years old), two sisters of Giovanni, little Raphael, and the uncle, the monk Bartolomeo, who was appointed guardian of the future artist. The family members didn't get along very well with each other. Raphael lived in his family until 1500. This period of Raphael's life is the least known. In any case, it is known that Raphael was engaged in painting all this time and was a student of the artist Timoteo Viti, who worked at the court of Federigo de Montefeltro.

In 1500, Raphael went to the city of Perugia, closest to Urbino, famous for its painting masters. The most famous painter Pietro Vannucci, better known by his name, lived in Perugia. Perugino had his own workshop, a large number of students, and only Signorelli, who lived at that time in the city of Cortona, a little further from Urbino than Perugia, rivaled in fame with him in Umbria.

Perugia was the center of the whole of Umbria. Perched on a rocky plateau, the city has been a living monument for many eras. Everything in this city breathed art: from the ancient walls, Etruscan gates, towers and bastions of feudal times to the fountain of Giovanni Pisano that went down in the history of art and the Cambio stock exchange, in which the local corporation of bankers sat. Perugia lived a stormy life; Basically, life passed on in the square: disputes were resolved here, festivals were held, the dignity of rulers and soldiers, buildings and paintings were discussed. The life of the city was full of contrasts: crimes and virtues, conspiracies, murders, cruelties, humility, good nature and sincere gaiety easily got along side by side. Perugia was ruled by a papal legate who did not enjoy authority and was constantly under threat of murder. And not only secret but also open murders were not particularly condemned. At this very time, the city gave the master Perugino an order to paint the local Cambio stock exchange with frescoes. This is how Perugino's "Transfiguration", "Adoration of the Magi" and other works, on which he worked for more than seven years, arose.

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Adoration of the Magi

Transformation

Michelangelo found Perugino's art boring and outdated. This assessment was caused by the fact that the most conservative traditions of the Quattrocento were still alive in Perugia (in the history of Italian culture there is a periodization by centuries; therefore, the Renaissance is conditionally divided into the following periods: Traccento - XIV century, Quattrocento - XV century and Cinquecento - XVI century .). Artists created compositions here, in some ways close to the old art. Primitiveness was their hallmark. Usually these paintings closely adhered to the scriptures. The artists did not yet know how to single out the ideas that excite them, to separate with due understanding the necessary from the accidental. The paintings of many quattrocentists - and the artists of Perugia were more so than others - were overloaded with details, figures, the picturesque transmission of the biblical theme in them was rather naive.

The Umbrian school developed under the influence of the Sienese. The Sienese artists who wandered through the cities and villages left their naive creations, which were distinguished by some epic archaism and iconographic monotony, in the altars and on the walls of churches. The sublime convention of these icon-like paintings distinguished the Sienese from other Italian schools. The Siena school perfected medieval patriarchal ideals, and although it achieved high skill in its icons and was famous for its purity and subtlety of contours, tenderness and thoroughness of execution, it still did not go beyond the traditional objects of images. Thus, the Sienese did little to turn to nature, all their compositions were built against the background of fantastic architecture, but the delicate azure of their paintings and the very conventionality and traditional monotony were very fond of Umbria. Many Umbrian artists developed under the influence of the Sienese.

The art of Florence was no stranger to Perugia, which was at that time the center of artistic life and absorbed all the brightest and most talented. Florence was influenced by the complexity and novelty of its artistic objectives, its bold humanistic understanding of beauty. The largest artists of Umbria - Luca Signorelli, Perugino and Pinturicchio just created their wonderful works thanks to the fact that they relied not only on the Sienese, but also on the Florentine tradition. If Signorelli was influenced more by Florence, which drew his attention to the naked human body, forming his already severe and direct character towards the utmost consistency and frankness, then Perugino is closer to the Sienese with their patriarchy and artistic conservatism.

Perugino traveled a lot; he also studied in Florence, working under the direction of Piero della Francesca, and also together with Leonardo da Vinci at the Verrocchio school. Despite all sorts of influences, Perugino remained, in his spirit, a purely Umbrian artist who loves soft and delicate contours and touching images of the Mother of God. The dreamy, spiritualized faces of his Madonnas still constitute the glory of the Umbrian school. When young Raphael entered Perugino, the latter was at the zenith of his fame. At this time he covered the rooms of Cambio with frescoes. It is believed that Raphael took part in the work of Perugino as a student, but it is impossible to establish this for sure.

At first, Raphael worked under the influence of Perugino. The master of that time did not set himself the task of developing the student's individuality, but only told him the technique of mastery. Students often painted sketches of the master, did less critical parts in the works, and sometimes all the work, with the exception of its general composition and final finishing. Perugino, being a popular artist, was so overloaded with orders that very often he completely entrusted them to his students.

Raphael's Madonnas, who will later take a large place in the artist's work, bear traces of influence in the first period of his studies in Perugia. Perugino. Some of these Madonnas were drawn by Perugino or by his assistant Pinturicchio. Such is the Madonna of the Soli collection (Madonna and child with a book): she is a completely Perugin's creation, made by the timid hand of a student (she is attributed to 1501). Famous Madonna Conestabile della Stoffa, written by Raphael at the same time. This Madonna is unusually naive and touchingly graceful; in it, Raphael is already felt as an independent artist, despite the fact that the surviving drawings show that they were made by Perugino or Pinturicchio.

Madonna of the Sulli Collection (Madonna and Child with a Book)

Madonna Conestabile della Stoffa

In 1503, after the departure of Perugino to Florence, Raphael received his first large independent commission - to paint the painting "The Coronation of the Virgin" for the church of the Franciscan monastery in Perugia. Raphael receives many orders already as a master from the city of Citta di Castello.

Coronation of the Virgin

In 1504, Raphael returned to his homeland, in Urbino, as an independent master. He is received in the palace of the Duke of Guidobaldo, they give him protection. Here he meets the most interesting and learned people of his time. At the court of Duke Guidobaldo, Raphael paints a small painting "St. George", as well as "Archangel Michael" in the form of a valiant knight who embodies the victory of good over evil. The young artist was highly regarded at court; the duke believed that Raphael was quite capable of joining the ranks of the best artists and creating works that were no lower than anything that had been created in painting before him.

saint George

Archangel Michael casting down the demon

Saint George defeating the dragon

Raphael stayed in Urbino for only six months and, equipped with letters of recommendation, set off for Florence. The Florentine Republic was at this time a flourishing center of artistic life. In one city at the same time, geniuses gathered who created works of painting and sculpture, which still remain unsurpassed. Florentine masters, architects and painters were known both in Turkey and in Moscow.

And despite the fact that the whole people lived in art and among art, artists were highly valued, albeit highly, not as artists, but as artisans doing their job well. Paid artists and architects monthly or per foot of fresco! True, in Florence, more definite boundaries between art and craft were already outlined. Most of the artists came from the folk environment. Their education was usually limited to knowledge of biblical subjects. Passing the course of study, they were more engaged in ancillary work than directly artistic work. Although we do not have exact information about the life of Raphael during his student years, there is no reason to assume that he spent them differently. Raphael's exceptional abilities helped him to complete the usually very long (often up to fifteen years) apprenticeship course faster, but his teacher Perugino himself could not give more than he knew. Therefore, when Raphael plunged into the artistic life of Florence, in which the arts stood at a great height - the prospect was opened here, here they were engaged in anatomy, they knew and loved the naked human body - he felt like a student again who needed to carefully look at his surroundings and draw from it knowledge. In Perugia, Raphael himself already had students and was known as a master, but here they looked at him as a novice artist and did not give him public orders.

Raphael often came to Perugia, supervised the work of his students, painted pictures and finally finished orders, but lived and studied in Florence. In Florence, Raphael plunges into the study of nature, nature, the theory of camera angles, perspectives, anatomical problems. The composition of his paintings is also formed here: simple, but surprisingly harmonious and simple Madonnas. These works of Raphael - "Madonna with the Goldfinch", "Madonna in the Meadow", "Madonna with the Lamb", etc. - have already lost the schematic character of the Umbrian school, they quite realistically express the high and tender, completely earthly ideal of motherhood.

Mary with the Child, John the Baptist and the Child Jesus Christ (Madonna of Terranova)

Madonna del Granduca

Madonna and child enthroned with St. John the Baptist and Nicholas of Mirliki

Little Madonna Cowper

Madonna in greenery (Virgin Mary in the meadow)

Madonna of the Carnations

Madonna and Child with Saints and Angels (Madonna under the Canopy)

Madonna with the goldfinch

Madonna of Orleans

Madonna and Child with John the Baptist in a Landscape (Beautiful Gardener)

Reading Madonna

In 1508, Raphael was only twenty-five years old, but he had already created over fifty easel paintings, one fresco in the San Severo Monastery and an endless number of drawings and sketches. Since Raphael achieved great perfection in his art, his fame in Florentine circles grew steadily. The artist mastered the great clarity of the drawing, perfecting himself on high samples; he did not even hesitate to rework his unfinished paintings in accordance with the new, higher concepts of beauty. Following the advice of Leonardo, Raphael, depicting his Madonnas, avoids unnecessary details and decorations, which were in great fashion in Umbria, and works on the landscape. Probably at this time Raphael was already familiar with Leonardo da Vinci's Treatise on Painting, which was written in 1498. He already overcomes the traditions of the Quattrocentists: the harshness of manner and the inability to discard details disappear, a more generalized realistic ennobling of the image, a strict composition appears. Raphael's creativity does not come from vague ideas, elusive emotions and naive observations - the act of creativity becomes deeply thought out, built on a clear knowledge and understanding of reality. His paintings acquire noble simplicity, they show the artist's desire to logically and extremely expressively embody his ideal of a person in painting. Raphael frees himself from the closed artistic system adopted in Umbria with its shade of provincialism, and brings into art the ideal of a beautiful person, the harmony of high knowledge and more complex ideas about painting.

Fresco by Raphael and Perugino in the San Severo chapel in Perugia

Allegory (Knight's Dream)

Crucifixion with Virgin Mary, saints and angels

The betrothal of the Virgin Mary to St. Joseph

Three Graces

Blessing of Christ

Holy family under the palm tree

Entombment

Saint Catherine

Holy family

No matter how peculiar the Italian cities were, each of which was an independent center and lived its own unique life, Rome stood out among them as an extraordinary, special city. At the beginning of the XVI century. Rome is the center of the papal state, the center of Catholic life throughout Europe; in a sense, it was also the political center of Europe.

Pope Julius II, one of the most militant church fathers, pursued politics mainly with blood and iron. In the acts of the popes, the dual nature of the Renaissance was especially vividly reflected. On the one hand, the popes were the most educated people of their time, they grouped around themselves the most interesting people of their time and were imbued with the humanistic tendencies of the century. On the other hand, they were also the organizers of the Inquisition, inciting religious fanaticism. This era, which most of all believed in the genius and strength of man, gave birth to rulers - subtle connoisseurs of the arts and at the same time monstrous murderers, bright and talented and often at the same time morally ugly. One of these people was Julius II. He went down in history as one of the largest patrons of art who sincerely loved art and contributed to its development. Under Julia, grandiose work began in Rome, for example, the construction of the famous St. Peter's Cathedral. In Rome, the most famous artists of Italy worked: Perugino, Peruzzio, Signorelli, Botticelli, Bramantino ‚Bazzi, Pinturicchio, Michelangelo. Here were concentrated the richest monuments of architecture and painting from Giotto and Alberti to Michelangelo and Bramante. Completely unexpectedly for himself, Raphael was invited by Julius II to this world city to take part in the painting of the Vatican hall - stanz. Raphael had already begun work in Rome until September 1508. Julia liked Raphael's projects so much that he dismissed the previously invited artists and entrusted him with the entire work. In a short time, Raphael, who had a gentle and sociable character and already famous for his successes in the Vatican, received so many orders that he had to take assistants and students, in other words, was forced to open a workshop. Raphael had to, first of all, paint with frescoes "Signature" - the hall where the Pope signed his papers.

Raphael's first Vatican fresco, known as the Dispute, is dedicated to the glorification of religion; the second, opposite the "Dispute", depicts the praise of philosophy as a free "divine" science. Above the window, Raphael depicted Parnassus, and below, on the sides of the window, Alexander the Great, ordering the manuscript of Homer to be placed in the tomb of Achilles, their emperor Augustus, forbidding Virgil's friends to burn the Aeneid. Above another window, Raphael depicted allegorical female figures, personifying caution, abstinence, etc., on the sides of the window is depicted the consecration of civil law by Justinian and the consecration of church laws by Pope Gregory IX. Emperors, philosophers, popes, merchants and gods, whom Raphael painted on his frescoes, were the real people of Italy in the 16th century. True, Raphael already has a certain tendency to soften, smooth out their harshness and originality. He chooses his images and idealizes people who are less tempestuous and impetuous; the essence of Raphael's realism is that it reveals a certain tendency to portray calm, quiet moods, balanced characters, not acute situations. Therefore, his compositions sometimes suffer from abstraction. Individual faces and figures in these compositions make a more vivid realistic impression than the mood of the whole picture as a whole. The remainder of the naive faith of the artist, who had already entered the brilliant age of the Cinquecento, but was still directly connected with the traditions of the Quattrocento, could give birth to images similar to those depicted in the "Dispute". In the way the "Discourse of the Holy Fathers of the Church on the Sacraments of the Sacrament" ("Dispute") is carried out, you can see something else from the Quattrocentist painting. The layout has a sharp contrast between heaven and earth. The saints and God are located in heaven, mechanically separated from the earth. The whole interpretation of persons and positions, the hierarchical arrangement of the characters - everything resembles the 15th century. The upper part of the fresco depicting the sky and the Saints is especially Umbrian in character. Yet this first major composition of Raphael showed him as an exceptional and mature master. Raphael gathered here all the scholastic philosophers, whose names became sacred to the church: here and Thomas Aquinas, John Scott, Augustine, as well as Dante and Savonarola.

School of Athens

Exposure of the Apostle Peter from prison

Battle of Ostia

The crowning of Charlemagne by Pope Leo III in 800

Fire in Borgo

Stanza della Senyatura

The triumph of law

Now, following The Dispute, Raphael painted The School of Athens, a fresco brilliant in the skill of composition. Raphael portrayed all the wonderful Greek philosophers in that fresco, placing in the center two figures leading Greek philosophy - Plato and Aristotle, each with his own works in his hands. Plato points the finger of his raised hand up, as if claiming that the truth is right there, in heaven. Aristotle, personifying the empirical view of things, points to the earth as the basis of all knowledge and thought. The School of Athens is one of Raphael's most interesting creations. In this piece, Raphael has already reached the pinnacle of his talent, in it one can feel everything new that Raphael acquired in Rome - in the Rome of Leo X (successor to Julius II from 1513) with his secular-humanistic court, in the Rome in which man was understood without a mystical-religious shell, in all the fullness of his genuine vitality and capabilities. In this fresco, all people are independent, exalted individuals, endowed with a perfect spiritual and physical makeup. With a general strict classical composition, the significance of each figure individually is not diminished, and each figure is artistically independent and individual.

In the fresco "School of Athens", despite Raphael's desire to give faces an overly solemn pathos of thought, despite the chilling symmetrical composition, the types of philosophers, their faces and postures still retain the force of truthfulness. These are the faces of ordinary people, inspired by an all-consuming thought, a desire to resolve exciting issues. Some figures achieve almost genre vivacity; such are - a group of thinkers who use a compass to check the correctness of a figure traced in chalk on a slate board, and the figure of a young man leaning against a column and in an uncomfortable posture, concentrating on writing something in his notebook. The faces of the group located on the left side on the lower steps of the temple are passionately tense; especially interesting is the face of an old thinker who is trying to look over his neighbor's shoulder at the book he is holding in his hands.

In such an idealization of the power and strength of man, the apogee of humanistic philosophy. Here, however, the other side of Raphael's work is already clearly emerging: it is easy to see that the theme of the work and its execution are close to the humanistic culture of the Roman court with its academic interests aimed at questions of style, form, rhetoric. In Rome, the artist ceased to be an Umbrian or Florentine master. Raphael acquired all the brilliance and realism of his work in the republican Florence, but with his soft, malleable nature, Raphael turned out to be the most Roman of the Renaissance artists.

For all their nobility, faces are often completely national - they have no deliberate sophistication, they are not cut off from life. True, Raphael idealizes, but idealizes, creating these people, captured by a single high impulse, real life. Here are young gentle faces, still covered with down, and the ugly heads of the elders. Lots of variety in movements, facial expressions and postures. Everything is filled with life and truth. The artist does not resort to implausible exaggerations, exaggerated postures, in order to show a beautiful, majestic picture of the triumph, celebration of human thought.

Raphael is often accused of being cold and academic, especially in his works from the Roman period. In the frescoes of the Hall of Heliodorus in the Vatican or the hall & laqborder: 0px none; border: 0px none; text-align: center; text-align: center; uo; Borgo Fire "idealization takes on a tinge of formality. There is already something operatic in The Exile of Heliodorus. The arrangement of the figures is theatrical: on the right - a group of robbers of the temple and a horseman sent by heaven, swung at Heliodor, already defeated to earth, on the left - believers, struck by heavenly punishment, frightened and moved. The deliberately correct arrangement of the figures distracts from the inner meaning. The composition lacks warmth, concreteness of feeling of living reality; there is something artificial in the figures, so beautifully arranged, as if the main concern of the artist is to provide a pleasant visual impression. The same can be said about the frescoes "Bolsenskaya massacre", "Attila, stopped at the gates of Rome." All these frescoes, as well as the frescoes "The Fire of Borgo", "The Liberation of St. Peter from Dungeon", were supposed to glorify the hierarchy, the greatness of the church and the power of the popes. Historical or biblical topics acquired a topical interpretation. Despite the dramatic design of the fresco "The Expulsion of Heliodorus", the overall picture makes a cold impression.

The Bolsenskaya massacre fresco revives an old myth in order to glorify the firmness of the faith of Pope Julius II and to intimidate and reproach not only the laity in this difficult era for religion, but also to call to order and impudent priests who dare to doubt the "miraculous sacraments" of the church. Yet the individual faces in this mural are beautifully done. On the right side were the Pope's guard soldiers or his porters. They noticed the miracle that had happened later than others and were rather indifferent to it. Obviously, the artist did not really strive to include them in the general mood of the picture. These are calm, clear profiles of quite mundane people who are far from what is happening. The main feature of their faces is calm nobility, reminiscent of the faces of the best figures of Florentine masters.

Attila, stopped at the gates of Rome

Expulsion of Heliodorus

Raphael's Vatican frescoes are located in four halls: Signature, Heliodorus, Fire in Borgo, Constantine. In the halls of Signature and Heliodora, Raphael painted all the frescoes himself, resorting only to the insignificant help of his students; in the Hall of Borgo Fire, Raphael painted only a fresco, by the name of which the whole hall is named, - in the other frescoes his students took a great part: Giovanni da Oudinot, Giulio Romano and Francesco Penny. In the Hall of Constantine, none of the frescoes were painted by Raphael himself. Raphael prepared cardboard boxes, which his students transferred to the walls. The most significant of the frescoes in this room, the Victory of Constantine, had not yet begun in the year of Raphael's death. This is the most grandiose depiction of a battle in the entire history of painting.

While working on the Vatican frescoes, Raphael, with the energy of a real Renaissance man, worked on a number of other works. During these same years, his best Madonnas were created. From 1509 to 1520 he wrote more than twenty of them. The so-called "Madonnas of the Roman period" are distinguished by their great maturity of talent and the clarity of the ideal expressed in them. Raphael created a type of mother-woman, full of extraordinary charm. The faces of his Madonnas, always preserving their amazing earthly spirituality, are infinitely diverse in terms of expressions in each separate picture.

Madonna Di Foligno

Madonna Loreto

Madonna Alba

Madonna and Child with St. John the Baptist, St. Elizabeth and St. Catherine

Ecstasy of St. Cecilia

Carrying the cross

In the same years, a wealthy Roman banker who loves art commissioned Raphael Sanzio to paint the frescoes "Triumph of Galatea" and the myth of Psyche and Cupid in his villa "Farnesina". The artist portrayed Galatea focusing on the poem of Angelo Poliziano - the court poet Lorenzo the Magnificent expressed in these verses in full measure his acute sense of external picturesqueness. Raphael's Galatea stands on a large shell drawn by the dolphins harnessed to it. The figure and pose of Galatea are taken from ancient monuments. She is almost naked, her clothes fluttering in the wind and allows you to admire the lovely forms of a young girl. There is a lot of movement in the picture, all the figures are given in restless turns. The feeling of movement should be intensified by the cupids still hovering in the clouds, aiming from all sides at the Galatea floating on the waves. But, despite the abundance of movement, the faces of all the figures, including Galatea, are motionless and not very expressive. The decorativeness of the picture is enhanced by the strangely painted sea. The painting has been restored many times, and the sea has been subjected to the most ruthless "treatment". This significantly changed the whole character of the picture, although the main thing - its patterned decorativeness - of course, remained.

Villa Farnesina

Triumph of Galatea

Cupid and the Three Graces

Cupid and Jupiter talk about Psyche

Venus in a chariot drawn by pigeons

Venus, Ceres and Juno

Psyche carries the vessel to Venus

Psyche gives Venus a vessel

Wedding celebration of Cupid and Psyche

Council of the Gods

Further, Raphael covered with frescoes the vaulted ceiling of one of the rooms of the Villa Farnesina and a whole gallery of loggias. The subject for these frescoes, Raphael took scenes from the myth of Cupid and Psyche in the form that this myth was developed in Ovid's Metamorphoses, and partially in Apuleius and Theocritus. These scenes, ten in total, depict the story of Cupid and Psyche, involving Venus and many other Olympian gods. The cardboards for these frescoes were painted in 1518, that is, at a time when Raphael was already engaged in architecture, supervised the construction of St. Peter's Cathedral, archaeological research, the protection of ancient monuments and the restoration of ancient Rome. Raphael was extremely interested in the works of art of the classical ancient world and showed his knowledge of ancient sculpture in the depiction of a cycle of scenes about Cupid and Psyche. During these years, Raphael created only cardboard, occasionally painting on and correcting the main figures. The Farnesin frescoes are renowned for their extremely interesting depictions of the Greco-Roman gods.

The graceful scenes of everyday life, symbolic hints and playful details of these frescoes bear little resemblance to the majestic gods of classical Greece. Psyche ‚this most beautiful of mortal women, who aroused the jealousy of the goddess of beauty herself, Raphael has a wonderful healthy girl who is going through the difficult vicissitudes of a love story: she is dying in the arms of the wicked boy Cupid, then she goes with Mercury to Olympus, with her face illuminated with a smile of victory and triumph ...

Almost idyllic are the frescoes depicting Venus showing Cupid people, or Cupid looking for sympathy from the three graces and entrusting Psyche to them to protect them from Venus. This whole series concludes with a large panel "Feast of the Gods", which depicts thirty gods who have come to terms with the invasion of the mortal beauty of Psyche into their midst. Despite the abundance of figures, the picture makes a surprisingly solid impression, as they are well located. The decorative intention of the artist, depicting the noisy Olympic fun, is extremely clear in this panel. There is something pastoral in the seriousness of Jupiter, and in all the gracefully merry gods, on whom a rain of flowers and angel-like creatures with butterfly wings falls. These are not the powerful titans of Michelangelo, not the majestic Olympians of Homer, but the mannered ennobled characters of Ovid's Metamorphoses: everything is too sensual, harsh, stormy - softened and pacified. In this amazing decorative painting, Raphael more than in other paintings expressed the essence of his age.

Pope Leo X was inexhaustible in his demands and did not recognize the limits of creative imagination and simply physical fatigue in the artist. Now, after the completion of the Farnesina frescoes, Raphael, on behalf of the Pope, had to paint the second tier of the boxes adjacent to the Vatican court with frescoes. To decorate these boxes, Raphael painted fifty-two decorative cartons and covered the huge wall space with decorative ornaments and architectural motifs. Raphael created an extraordinary variety of paintings, patterns and ornaments that together make up a charming whole. Everything is in agreement, sounds one powerful artistic chord. Raphael painted his frescoes on the biblical (creation of the world, expulsion from paradise, the appearance of God to Isaac, etc.) and mythological (gods, geniuses, extraordinary beasts) motives, without giving up the themes of modern life. So, on one of the frescoes, he depicted artists at work.

The frescoes of the Vatican boxes are far from equal in terms of their artistic merit. It is believed that some of them were even created in cardboard by his students. Already ten years after their implementation, many were spoiled by the action of bad weather, because they were painted in an open gallery, which was glazed only in the 19th century. These frescoes are interesting for us as evidence of the inexhaustible creative genius of Raphael, the amazing efficiency and versatility of his talent. The artist, without delving deeply into the content of biblical legends, created these frescoes, which bear the name "Raphael's Bible". God soars freely in airless space and effortlessly creates everything that is due to him: abyss and firmament, sky and moon. He is depicted as a cheerful, healthy, bearded old man; his head is covered with a thick head of gray hair. There is something genre about The Creation of Eve; God is on her a deep, but strong old man, and young, with half-childish forms, Eve is very touching in her innocence.

At the same time, Raphael worked on many paintings, decorating the Vatican lodges, creating his Madonnas, painting portraits, restoring ancient Rome and composing sonnets, very poetic and lyrical. Raphael showed his subtle knowledge of ancient Roman art in many works. Particularly interesting in this respect is the painting of the bathroom of Cardinal Bibiena. It is performed in the late antique style, against a dark red background, with scenes taken from ancient mythology.

Leo X decided to decorate the parts of the Sistine Chapel that were free of frescoes with rich gold-woven carpets and instructed Raphael to write cardboard for these carpets. It was supposed to weave ten carpets, depicting various deeds of the apostles on them. Carpet borders, woven in bronze, painted episodes from the life of the Pope. The carpets were woven in factories for three years and, when hung in the Sistine Chapel, made an amazing impression. Indeed, Raphael's cartoons depicting the deeds of the apostles are absolutely extraordinary in strength and simplicity. As mentioned above, all of Raphael's work of the Roman period is marked by a certain amount of pomp, official beauty and exquisite perfection. Only his portraits and the Madonnas largely escaped this seal; the same can be said for cardboards. Precisely about cardboard, and not about carpets, because the latter have suffered so much from time and accidents, not to mention the impossibility to convey in the fabric all the subtleties of the artist's intention, that it is very difficult to judge Raphael by them. The fate of the cardboard was also not very happy. They were left in a factory in Brussels where carpets were woven, and no one bothered to preserve them. Some of the cardboards have disappeared; surviving - only in the XVII century. were accidentally discovered by Rubens, who persuaded the English king Charles I to purchase them.

The most interesting on the topic and its resolution are the “Wonderful catch” and “Feed my sheep” carpets. As in other carpets, the amazing simplicity and realistic interpretation of the plot amazes here. We see an ordinary countryside: a landscape spreads in the distance, creating a backdrop for the whole picture and depicting a hill on which villages, groves, and churches are located. The foreground is occupied by the figures of the apostles. Both Christ and his disciples have nothing religious in themselves, which is especially clear in the “Miraculous Catch” carpet, which essentially depicts the ordinary fishing of Italian peasants. The healthy, strong bodies of the apostles are dressed in a short dress that reveals almost the entire body and exposes muscles and muscles; the faces of the two disciples pulling the nets express tension, as do their hands busy with work. The boat operator is passionate about his job; his figure bent in an uncomfortable position in order to keep the boat in balance. The Apostles Paul and Andrew, expressing their faith and gratitude to Christ, pleasure and tenderness, are simple in their national appearance. A realistic interpretation of a religious theme is free, not constrained by any traditions. All this shows that Raphael is not looking for the effects of external beauty. Christ sits at the stern in a calm posture; he differs from the apostles in clothing and in a more subtle, soulful expression on his face. Three cranes are shown in the foreground of the painting. Birds make a little strange impression in such close proximity to humans. There was a lot of debate about whether these birds were painted by Raphael himself, or some student later painted them. Be that as it may, it must be said that birds only enhance the impression of the extraordinaryness of the moment, trustingly approaching people, stretching out their heads to them.

The cardboard "Feed my sheep" is of great interest for its extraordinary depth and clarity of psychological characteristics. Christ, a handsome, slender blond man with a majestic and bright face, stands a little at a distance, apart from the group of apostles, and turns to Peter, giving him preference. The faces of the apostles are interesting: some of them express feelings of joy and reverence; others, standing further, are sometimes overshadowed by a sudden sobering skeptical thought, or simply irritated and angry. The last apostle in the group clasps a book to his chest, this symbol of knowledge, not faith, and is about to leave.

In the painting "Healing of the Lame Man by Saints Peter and Saints John", in addition to an interesting decorative composition, the figure of a crippled beggar, who is located at the right column of the church, is of absolutely exceptional interest. Against the background of columns, richly and magnificently ornamented, intertwined with garlands of grape leaves with artfully woven cupids into them, are given beggars and cripples, ugly and exhausted by old age and disease. An indescribable expression has the face of a cripple, watching from behind the columns the "miracle" of healing the lame. Distrust and hope, envy and skeptical indifference - a whole gamut of feelings was reflected on this face. He rests his still strong hands on the staff, an ugly pose, but very lively. Sparse vegetation covers his face and head. The cheeky face of a beggar expresses the highest degree of surprise, the upper lip is bitten. In the XVI century. art could still create such a portrait, devoid of false idealization, remaining within the framework of calm truthful realism, but free from unnecessary naturalistic details.

Cardboard "Death of Ananias" conveys that moment of the biblical legend when Peter said to Ananias, who hid money from the sold land: “You lied not to man, but to God! “And hearing these words, Ananias fell lifeless to the ground, and great fear seized everyone ...” The individual faces of the apostles and just people from the crowd are beautiful. The faces of the apostles are simple, rough. They are realistically vital, these people of mighty spirit, full of dignity and moral strength. The extraordinary richness of portrait characteristics, a sense of the greatness of the characters put Raphael's cartoons among those best creations of the 16th century, which complete the ideals of Renaissance art.

Death of Ananias

Wonderful catch

The sacrifice in Lystra

Healing of the Lame by Saints Peter and Saint John

Elim's punishment

Feed my sheep

Saint Paul's sermon

Tapestries

Raphael's cardboards are called the Parthenon marble of modern times, the highest manifestation of the genius of the era. They are put on a par with Leonardo's The Last Supper and Michelangelo's Sistine Chapel. Nevertheless, it should be noted that this high opinion of Raphael's carpets is fair, if we talk only about individual images, undoubtedly representing the masterpieces of world art. In the compositions, even carpets are subordinated to that "classical" harmony, which often takes away their warmth and vitality. So, in a beautifully curved line of an ellipse, the figures are located around the compositional center of Ananias, wriggling in convulsions. The folds of the cloaks of the apostles are decoratively laid, which together represent some kind of theatrical show. The exemplary correctness of the composition gives the whole picture a rhetorical character. Few carpets have avoided the printing of the cold classical composition: first of all, the “Wonderful Catch” should be attributed to these.

But in these works, Raphael is already quite an artist of the new time, he left the naivety of early Italian artists. The religious plot in Raphael, as in the best Quattrocentists and especially the great artists of the 16th century, becomes something secondary. In his painting, people with completely earthly moods live and act - pensive, like the Sistine Madonna, or joyful, like Psyche, inspired by thought, like the philosophers of the Athenian school, or angry, like the apostles in The Death of Ananias. Progress in his art is that, as a typical representative of the Italian High Renaissance of the XVI century. in particular (with its particular clarity of classical taste) - it cultivates a strict beginning. True, under the influence of Roman humanism, clarity and discipline deprive the picture of the warmth of life.

In Rome, Raphael reached a great height in the field of portraiture. During his stay in Florence, the artist painted several portraits. But they were still student works, bore the traces of many influences. In Rome, Raphael created more than fifteen portraits. Obviously, the first to be painted was the portrait of Pope Julius II. It is not known whether the original was preserved in the Pitti and Uffizzi galleries, because in both galleries there are identical copies of portraits attributed to Raphael. In any case, these portraits very realistically depict a pale, sickly-looking old man in a red cap and a short red cape; the elder sits in an armchair, his hands covered with rings on the arms of the armchair. Dad's hands are expressive, not weak and weak-willed, but full of life and energy.