Rafael Santi was born in the city of Urbino in 1483, April 6th. His interest in painting began pretty early. His father Giovanni Santi worked as a court artist at the Duke of Urbino Federigo and Montefeltro. During the time Rafael was with his father, he had the opportunity to study the foundations of painting. In 8 years, Raphael lost his mother, and in 11th Father. Thanks to the care of the stepmother and a sufficient number of funds that remained after the death of the Father, the master never fought for their decent existence. In addition, he was friends with the Italian masters of that time. Through these ties, Rafael could rather early become quite successful in his career.

His father, when he was still alive, apparently managed to ensure training for a young master. In 1500, Rafael became a student of Pietro Perugino, who was a successful artist in the city of Perugia. For four years, Rafael mastered the technique of Perugino as well that it was almost impossible to distinguish their work. By December of the same year, Rafael deserved the title of Master from some quarters. His first famous work was an altar image for the church, which was halfway between the city of his birth and Perugia. He was helped by his senior friend Evangelist's drunk di melloveo. The artist worked on many other projects with the father of Raphael. The young master continued to work as an assistant at Perugino, until he moved to Florence.

In Florence, it became obvious that his style needs some changes if taken into account the latest innovative styles Leonardo da Vinci and Michelangelo. However, the artist who had the greatest impact on him undoubtedly remained the former. Its influence can be seen on the painting of Raphael "Sicstinskaya Madonna". However, even though he took the styles of different masters of that time, he continued to use his own unique style. The work in which it was already possible to see more characteristic Rafaell style - "Beautiful Sadman" (La Belle Jardinire) or "Madonna and a baby and John the Baptist", as it is also called.

In 1508, Rafael 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 Bramte (the famous architect and painter of that time), Rafael Santi becomes the official artist of the papal court. He, at the invitation of Pope Julia II, arrives, to fulfill the place of painting by frescoes, Della Machine Machine, the first Michelangelo, who receives an official invitation a few months later. The first authorized work of Raphael in Rome was his greatest and highest paid order than ever. He had to make frescoes, in a room that should have become a library Julia II in the Vatican Palace. There were already similar works in different halls, but they were mainly painted, since they were ordered by the predecessor and the worst enemy of Pope Julia II Rodrigo Borgia Pope Alexander VI. The works of Rafael in this room were one of the best works of the artist. They include Parnas, Athenian School, "Disputs", "Virtue and Law".

In order to write these famous works, he had to paint some other works. However, Pope Julius II decided that these works are less important. After completing the work in the first room, Papa Julius II was very impressed and decided to instruct the artist, for further work, painting in another room. The second room in which Rafael worked is called the d'Elodoro station. In this room, Raphael basically focuses on the provision of patronage of human activity. In these works, Michelangelo's influence is clearly seen. However, as it was throughout his career, the artist managed to use his own style, while still using many techniques of other masters. At one time, Michelangelo was very annoyed by the unique skill of Rafael quickly adopt the techniques of other artists. He even accused the artist in the plagiarism.

During the work of Raphael over the second hall, Pope Julius II died. However, this did not affect his work. The next dad Lev X was also delighted by the skill of Rafael, and supported the continuation of the painting. In addition, the complex web of his friends played a significant role in providing artist by orders, in such a quantity that he was probably never staying without work. Rafael Santi continued to work on the project, but he had already played a smaller role. For his end, he began to send the team of his assistants. His big I. sophisticated work For him, Leonardo da Vinci, and Michelangelo began to determine the age in which they lived.

At the sunset of his life, Rafael continued to receive salary from the Vatican. However, he also received other numerous orders. His most notable projects outside the Vatican are a series of altar images and Roman Madonn. These works demonstrate evolution in the style of Rafael. In essence, he continued to develop until death. In addition, he made a series of portraits. Among them are portraits of Pope Julia II and his successor.

His studio workshop was described as one of the largest ever owned masters. Undoubtedly, much of the experience of managing the workshop he took over his father. Unlike the workshop of organized Michelangelo, Rafael's workshop worked more quickly and productively.

The artist managed not only to organize a whole subcontractor of masters and their assistants, but also support with them all good working relationships. His workshop was attributed to the development of talent in some of the greatest masters of that time.

When Bramte died, Rafael was appointed chief architect of St. Peter's Cathedral. In 1515, he also receives the position of the chief keeper of antiquities. Most of his work was subsequently demolished, since they were, to some extent, sullen. However, some of his works, as an architect, have so far been preserved in Rome.

Rafael often painted drawings, sometimes using silver tip for this. The drawing, made in this way, at the beginning of a bluish-gray. Gradually, after oxidation, it acquires a brownish shade. As can be seen from his numerous drawings, the artist he was very innovative. Rafael never made copies of his works, but willingly engaged in cooperation with other artists and allowed them to use his sketches to create engravings.

The artist was never married. For some time, he was passionate about Margarita Luce (by a bakenist) daughter of a rich dog.

According to one of the versions, numerous noisy games with mistresses led to his premature death at thirty seven years. But still, this version is a subject of serious disputes. According to another version, it fell ill after sexual intercourse with vannarina. But if we take into account the large amount of work that the artist performed, the morals of those times general state The health of the population of the century and the fact that then people generally lived for a short time, it can be assumed that it was all together, in general, and could have been the cause of the early death of Raphael. In any case, after so many hundreds of years from the date of his death, now you can only build guesses about its reason, as some facts of biography remain unknown, and instead there are many speculations, rumors, fantasies and guenes. The artist bequeathed his considerable state Margarita Luti, friends and disciples. After death, Rafael was buried in Pantheon, at his own desire.

Without a doubt, Rafael belongs to the number of leading artists of the Renaissance. Together with Titian, Donatello, Leonardo da Vinci, Michelangelo, Shakespeare, and a small group of contemporaries, Rafael became the center of the movement of artists who have replenished with their masterpieces not only Western, but also world culture.

"Sistine Madonna". The picture is 196 cm. X 265 cm. Made with oil on canvas in 1514. Located in the gallery of old masters, in Dresden, in Germany.

"Beautiful Sadman" (Madonna with a child and John the Baptist) size of 80 cm. 122 cm. Made with oil on the board in about 1507. Located in the Louvre, in Paris.

"Madonna with Schegul". The picture is 77 cm in size. X 107 cm. Made with butter on the board in 1506. Located in the Uffizi Gallery, in Florence, in Italy.

"Madonna in Green" (Belvedere Madonna). The pattern is 88 cm. X 113 cm. Made with butter on the board in 1506. Located in the Museum of Art History, Vienna, in Austria.

"Madonna Concreate". A picture of 18 cm in size is 17.5 cm. Made with oil in 1504, translated from wood to canvas. Located in the State Hermitage, in St. Petersburg.

"Madonna in a chair." The pattern is 71 cm in size 71 cm. Made with oil in 1514. Located in Palazzo Pitty, in Florence, in Italy.

"Madonna Granduk." Picture of 55.9 cm in size. X 84.4 cm. Made by oil on the board in 1504. Located in the Palatinsk Gallery of Palazzo Pitti, in Florence.

"Madonna Alba". The picture in the form of a thin-size size of 94.5 cm. X 94.5 cm, was written in 1511, transferred to canvas oil. Located in the National Art Gallery, in Washington, in the USA.

"Madonna Tempi." The pattern is 51 cm. X 75 cm. Made with butter on the board in 1507. Located in the picture gallery "Old Pinakotek", in Munich, in Germany.

Madonna Foligno. Picture of 194 cm. X 320 cm. Made in 1512, transferred to canvas oil. Located in the Vatican Pinakotek.

"Three Graces". The picture is 17 cm. X 17 cm. Made with oil on the board in 1504. Located in the Konde Museum, Chartia, in France.

"Cardinal Bibbiena". A portrait of a size of 76 cm. X 107 cm, written on an oil on the board, approximately in 1516, is located in Palazzo Pitti.

Portrait of Baldassar Castiglion (Count Newilate, Italian Writer) has a size of 67 cm. X 82 cm, made by oil on the board at about 1515, is now in Louvre, in Paris.

"Lady with a unicorn". The female portrait has a size of 61 cm. X 65 cm, made by oil on the board in about 1506, is located in the Borghese Gallery, in Rome.

"Julius II". The portrait of the 216th Pope of the Roman Juliano della Rover has a size of 81 cm. X 108 cm, made by oil on a blackboard in 1511, located in the London National Gallery, in the UK.

"Fornarina". Portrait, presumably depicts a beloved woman of Raphael. Its size is 60 cm. X 85 cm. It was written by oil on the board in 1519. Located in Palazzo Barberini, in Rome.

"Athens School". The fresco size is 770 cm. X 500 cm. Written in 1511 in the village of Della seventies, in the Vatican Palace (Apostolic Palace in the Vatican).

"Parnassus". The fresco is 670 cm. In the width was written in 1511 in the village of Della seventies, in the Vatican Palace.

"Disputes". The fresco of 770 cm. X 500 cm, was written in 1510 in the village of Della seventies.

"Virtue and Law". Fresco 660 cm. In the width is written between 1508 and 1511. In the station della Senyatura.

Creativity Rafael Santi

Conclusion

Bibliography

Introduction

The work of Rafael Santi with all its essence is connected with the spiritual culture of the Renaissance, where the ideals of humanism, beauty were embodied. Rafael, as a great master, is interesting to art historians and historians of art, extensive research literature is devoted to his epoch. Perhaps all this is connected not only with the generally accepted of its grand achievements in painting, graphics, architecture - but also, with the clear, calm and ideal build of the whole art of Rafael. It is difficult for me, being a little serious (more precisely, only a student) person in such a thin sphere, as visual art, arguing about the adorable silhouettes created by Raphael and, moreover, even for themselves, but to evaluate them.

Therefore, I read the collection of articles under the general name "Raphael and his time", where scientists set out the problems (and ways to solve it) creativity of the Great Artist. The editorial board of the collection notes in the introductory article that the number of questions on the work of Rafael is incommensurable. Most important of them are considered in research workplaced in the book. The purpose of creating a collection was "studying his creativity in a context with artistic quest, philosophy, aesthetics, literature, Renaissance music", which "allows you to fully reveal and the value of Raphael for his time, and the value of time for the formation and improvement of the brilliant artist." (p. 5) It is probably difficult to speak out to the Great, because any words, I think so is not able to express all the feelings that they are transferred to the paints, strokes in the works of masters gifted painters.

I apologize for such an unclear motive of writing the control, but at the moment Leonardo, and Michelangelo, and Rafael, and Rafael, are equally interesting to me. This year, as well, and in the past, a lot of documentary and popular cinema was able to look at the life and work of Michelangelo, Leonardo da Vinci got a little earlier in the field of view of mass television. In a word, a space in education (personally, I can name the stages of the creativity of Rafael. Moreover, emotionally, perceive the easier than the work of this master. Unfortunately, none of the work of the collection "Raphael and His time" is not reflected the issue of the heritage of the Rafael's era, which took place during the Prerafaelism. It seems to me that the works of representatives of Rafaelevsky aesthetics in art are so beautiful, exquisitely - aristocratic and, in my opinion, are self-consistent. By the way, in the word "imitation" it is impossible to see only the negative side of the "probable lack of individual traits". Presumably, Rafael himself wrote to Baldassare Castiglion that in the search for a single sample embodied the dream of an ideal one, it is necessary to "see a lot of beauties ...", "but because of the lack ... in beautiful women I use some idea ... that comes to me for the thought. " (p. 10). In these words, I see an explanation of the attempt itself to imitate the beautiful - the desire to reproduce the beauty, which is sometimes governed, gives rise not only to copying, but also the multiplication of the number of beauty fans too. Understanding beauty is raised by imitation. "The art of Raphael is highlighted by a rare ability to a wide artistic generalization. His natural talent is powerful to synthesis. " As V.N. says Grazhekov, Rafael himself "saw the task of his own art" is not in the "imitation of ancient", but in the "creative attachment to their artistic ideals." (p. 10).

About the fact that I did not know earlier and the impression of my reading materials is my test. About the genius of Rafael Santi, whose "Some Idea" is Platonovskaya for first-sourct. "But it is understood by them more specifically and sensually - tangible as a kind of visible ideal, which he is guided by as a model. This ideal of artistic perfection varied noticeably as his work was developing, acquiring an increasingly full and meaningful character "," Making ... Evolution from the camera to monumentality "(p. 10) in terms of harmonic world.

Creativity Rafael Santi

"He started in Urbino yet the boy, probably in the workshop of his father - a little artist, a little jeweler, - then he studied in the workshop of Thymoteo Vitti. Then there was Perugia. From those initial times preserved "Crucifix". Raphael here is just a true student of Perugino. He is so copied by the style of the master, his manner, that, as the famous Soviet art historian will notice rightly notice. Wipper, it was unlikely that it was possible to guess that it was not perugal, if not the signature of Rafael. " (A. Warsaw).

From 1500, Rafael worked in Perugino's workshop. Of course, the influence of this wizard on Rafael was determining. In his native Urbino, the style of young Raphael was formed, the whole initial period of creativity was flowing in the quiet mountain towns of Umbria. It was at the beginning of the creative path of Raphael who had influenced its provincial teachers, then he comes to the workshop of Perugino. V.N. Strostskov says that in the methods of composition "History" easily converted with a representative system of an altar image. In turn, "history" is called a type of multifigure composition. "Revival artists acquainted with antique reliefs, which led to the development of the structural-rhythmic principles of a new classic style. This tendency to monumental enlargement of forms, to the simplicity and clarity of the whole Rafael brought to perfection. " The scientist writes that the architectonic nature of Raphael's painting was the result of a representative tradition, which he inherited from the art of his native Urbino. From the works of Piero della, Francesca, who lived in the city for a long time. This legacy of Urbino was recycled by Raphael, felt deeper and fruitful. Following the examples of Florentinians, Rafael mastered the plastic of the human body and the expression of a living human feeling. Urbino was one of the art centers in 60-70. XV century At the invitation of the ruler of the city, Master Italy also worked there and even artists from other countries. Works of masters, their paintings and embodied architectural thought, had a decisive impact on the formation of the ideals of Bramte, a native of the neighborhood of Urbino. Probably, on Rafael, all this variety was the same effect. It was the spirit of genuine classical. Having met in Rome many years later, Rafael and Bramptant were easily found in common in their views, it is thanks to the source of their ideals that was the art life of Urbino. It is known that Creativity Piero della Frances had an impact on the new direction of Umbry painting with his "promising synthesis of form and color" (R. Long). This was perceived by Raphael, through its Umbral Teachers. "Mary's engagement" is an independent and strong work.

"Mary's Break" Written in 1504 (Milan, Brera). All figures "form a very whole and beautiful spatial-rhythmic grouping. The free space of the desert square serves as a pause between the figures, the slight movement of which is transmitted smooth, wavy lines, and calm, slender forms of church-rotunda, the dome of which repeats the semi-curvous completion of the entire picture. And even in flavor, albeit the transparency and airiness Piero della Frances, Rafael managed to find due harmony. Its dense and clean paints are red, blue, green, ocher - well combined in the easy yellowishness of the total tone, their warmth of softening excessive dryness and hard color. "

This is the literal quoting of the description of the picture given by grazhekov. I only attach a black and white reproduction, because I will use the exact wording of the specialist. It is very important for me that in the control a lot of estimates of the scientists themselves, researchers of the creativity of Rafael, so I will give a quote with a description of another early work of the artist - "Madonna Concreate" (St. Petersburg, Hermitage). "... written by him most likely at the end of 1502 - early 1503. Sad memories of early death, the charming pictures of native places merged here into a single harmonic image, in a clean gentle melody of the naive, but sincere poetic feeling. Rounded lines gently outline the figures of Our Lady and Baby. They are invisidiously invas the outlines of the spring landscape. Round fraction of the picture arises as a natural completion of the rhythmic lines game. A fragile, the girl's image of Mary, the mood of quiet thoughtfully corresponds to a desert landscape - with a mirror stitching of the lake, with a slightly green slopes of hills, with thin trees, still devoid of foliage, with a cool shining in a snowy mountain peaks.

... However, this small picture is fulfilled yet by tempera, with almost miniature subtlety of the letter and a simplified interpretation of figures and landscape. " Noteworthy story accompanying the appearance of a picture in the Hermitage, which is given in the article. Kustodiiyeva "Pictures of Rafael in the Hermitage". The name of the work of Raphael - "Madonna del Libro", which was made at the request of Alfani Dia Diamantha. Despite a number of doubts about this, it is obvious that it is this picture that the property of the owners in 1660 is it is given in the inventory of 1665, after the death of Marcello Alfa. After the genus of Alfa received the title of Counts of Della Staffa in the XVIII century., Family, by marriage, connected with the family of the Concreate. Hence the genus a contestant Della Staffa. The picture was kept in the family throughout the centuries, until in 1869, Count ScipiPon Concreate, due to monetary difficulties, was not forced to sell a collection of works of art. Among them was the famous "Madonna" Rafael. It should be mentioned that Kustodiyev notices in the article that for the small her masterpiece Rafael created both the original frame, and the ornament layout was performed on the same board that served as the basis for painting. Through Graph Stroganov, as well as the director of the Hermitage A.S. Gedeonov, "Madonna del Libro" was acquired for considerable money and was presented by Alexander II Wife Mary Alexandrovna. Kustodiev writes: "In connection with the development of the type of semi-imaging image of Mary at the end of the Umbral period, the possibility of accurate dating" Madonna Concreate "occurs. ... It seems to us the most convincing ... 1504, the end of the Umbrian period, until the fall of this year Rafael moved to Florence. The basis of such dating is a stylistic analysis early works Masters. These include "Madonna Simon" and "Madonna Salt", which are usually 1500-1501. In both paintings, Maria is located frontal, the baby is placed so that his body is on the background of the mother's figure, without going beyond its raincoat. The poses of Christ are revealing great similarity. Mary's figure almost completely fills the fore, leaving only the minimum place for the landscape on the right and left. A comparison of these works with the "Madonna Concreate" shows that the Hermitage picture is the next step in the development of such compositions. ... Thus, the characters are combined not only externally, but also endowed with one mood of concentrated thoughtfulness. ... "Madonna Concreate" most often neighboring "Madonna Terranova", which by all researchers are recognized as one of the first paintings created by the Master in Florence. Her "Florentine" origin is proved by the undoubted influence of Leonardo da Vinci. " (Because Kustodiev "Work of Raphael in the Hermitage"). V.N. Painstskov notes that the painting "Madonna Concateabyl" only marked the beginning of the creation of those paintings, where, as an artist, Rafael leaves much forward, connecting the "former Umbrean grace" with "Pure Florentine Plasticity". His "Madonna" "lose the former fragility and prayer contemplation" and become "more earthly and human", "more complex in the transfer of living feelings." Four years in Florence (1504-1508), he already examines everything that this top art school Italy could give him. "He learned a lot from Leonardo and young Michelangelo, got close to Fra Bartolomeo ... He first seriously got in touch with the works of antique plastics." (p. 12). Florence was at that time the "Cradle of the Italian Renaissance". This city retained loyalty to republican and humanistic ideals. Yes, and whether it is worth talking about how generous to the talents Florence? Michelangelo, Leonardo. ... some names are definitely not enough to comprehend all the grandeas of the talent of these masters, but subject to the knowledge of that little, which is described in the media, you can submit merits and Michelangelo, and Leonardo. A. Warsaw writes: "Four years spends Rafael in Florence. Leonardo (more precisely, on the creations of Leonardo, the study was, so to speak, correspondence) he learns to portray the movement of figures. At Michelangelo - plasticity, the ability to conversion to convey the feeling of dynamism. " (p. 128). Pictures of those years are widely known - "Madonna in the meadow" (1505 or 1506), "Madonna with a shcheler" (OK. 1506) and "Beautiful Sadman" (1507). These pictures are distinguished, according to Grazhenkov, the "more compact grouping of figures" and "the big ideality of the landscape". The researcher points to the borrowing of this type of composition by Rafael Leonardo. "After the monotony of art techniques Perugino, Rafael with a special sharpness was to be aware of all the infinite wealth of mature art Leonardo, when he first met him in Florence." ("Raphael and his time", p. 24). As stainlessness notes, Rafael "refused to be alien to him psychological refining Leonardo in the name of a simpler and more clear, ... more affordable expression of maternity beauty." (ibid.). According to experts, Raphael attracted little composition of the so-called "Holy Interview", "where the Mother of God was depicted on the throne, surrounded by the Saints and Angels." Therefore, he attracted another interpretation of the image of Madonna. "These are numerous, more often ... semi-imaginary images ... where she (Our Lady) is presented gently hugging a child who answers her with her caress." (ibid.). Countains calls it "deeply human reincarnation of ancient iconography" and assumes that it is in the reliefs of the Paduan Altar Donatello could have been drawn by the idea "Madonna Tempi" Raphael. The researcher writes that this picture is "the most dusty, the most human direct expression of maternal love." (ibid.). "Madonna" Rafael "live in harmony with their feelings, in harmony with nature, with people. ... These "Madonna" were called upon to serve religious thoughts, as once ... icons. But there is nothing in their appearance, which would excite the thought about the ascetic ideas of Christianity. This is a happy Christianity ... " (ibid, p. 24).

It is worth noting that Rafael did not stop on the results achieved and "sought to more intense plasticity in the construction of the group." Despite the modest size of paintings, the monumental scope and the internal drama images are forced to recognize that the master "with an unprecedented emotion to him knows how to transfer the defensive force of hot maternal arms." (ibid.). Nevertheless, Rafael avoids "tragic stiffness", which "deprives the body of freedom of movement", manners so characteristic Michelangelo.

Scientists emphasize the fact that "the fantasy of Rafael attends another image of Madonna - solemn and sad, as if the convicts, which sacrifice it should bring people. Such a composition always thinks to them as an image of a standing Mary with a baby in his arms. " (ibid.). Preceding "Sicstinian Madonna" Work, you can call certain stages of search for expressive agents. I looked at the reproductions of some "Madonn", but, without being a specialist, it was unlikely to notice some silent change in the style. Of course, every job self-sufficient and I like in the work of any master is this feature. Any picture is a masterpiece. Despite the more free possession of knowledge about the stages of the creativity of Rafael, my attitude to great painters, sculptors, architects will always remain at the level "is not discussed!" And you can do everything with me you wish. If you allow, I will tell what I think faithful for myself: the works of Raphael, not only picturesque, but all-all, "energy" is very recognizable. And if, in this level, there is a sympathy between the viewer and the author of the picture - the value of artistic reception can be considered progressive or obsolete - this pleasure will not spoil me personally. Not only one who does nothing. A talented artist who lived so long ago, it is very easy to discuss and talk about his work, constantly comparing with the works no less talented .... I am worried about appraisal opinions, articles that allow you to write and publish certain "experts". When the artist criticizes the artist is (for me) an event is clear. The connoisseur can love, all the rest is better not to depict art historians. Do not like - do not look. Agree, the picture cannot respond to an unfair rating, and you cannot answer on the praise! And this picture ("Sicstinskaya Madonna") is so perfect in the compositional decision, which the viewer is as if present in the sacrament, on it shown. Now, I will allow myself some quotes about the Sistine Madonne, from the article "On the Art of Raphael":

"Wanting to present the phenomenon of Our Lady as a visible miracle, Rafael boldly introduces the naturalistic motive of the extended curtain. Usually, an angels open a similar veil ... But in the painting of Rafael, the curtain revealed itself by unknown power. There is a hue of supernaturalness and in the lightness, with what Mary, pressing a heavy son to himself, marching, barely touching the cloud surface bare feet. In his immortal creation, Raphael joined the features of the highest religious ideality with the Higher Humanity, presented to the Tsaritsa Heaven with the sad son in his arms - I am proud, inaccessible, mournful - descending towards people. "

"It is not difficult to note that there is no land or sky in the picture. There is no usual landscape or architectural scenery in depth. "

"The entire rhythmic system of the picture is such that inevitably, again and again faces our attention to her center, where Madonna is towering over all."

"Different generations, different people seen in the Sistinian Madonna. Some seen in it the expression of only a religious idea. Other interpreted the picture from the point of view of the moral-philosophical content hidden in it. Third valued in it artistic perfection. But, apparently, all these three aspects are inseparable from each other. " (All quotes from Article V.N. Grazhenkov).

A. Warsaw in the article "Sikstinskaya Madonna" quotes Vazari: "He fulfilled (Rafael) for black monks (monastery) St. Sict board (image) of the main altar, with the phenomenon of Our Lady St. Sixt and St. Barbar; Creation is unique and peculiar. " In 1425, the former women's monastery moved to the monks-Benedictine Congregation of St. Justina in Padua. ... He is now directly subordinate to the dad, he is freed from taxes and taxes, the monastery's abbot gets the right to wear Mitra. Dad Julius II, ... united Monte Monte - Cassino with this congregation (...). Monastery of St. Siksta was in the composition of the powerful Congregation Monte - Cassino, whose rector now wore the title Heads of rebels of the Order of the Benedictine, Chancellor and the Great Chapellan of the Roman Empire (...). Here are these Benedictins and there are the very "black monks", which Vazari reported. " (ibid.).

In 1508, on the recommendation of Donato Bramante, Rafael was invited to Rome on behalf of Julia II. Bramte was at that time the chief architect of the Vatican and, as you know, was part of the circle of close to dad. "He (Raphael) settled in the eternal city, probably at the end of 1508, maybe a little earlier, not without assistance, perhaps the papal architect Bramte, who was in those years in great strength. However, Raphael was undoubtedly the appearance in Rome, the Ramael was obliged to itself - his irrepressible passion for improving, to everything new, to work large and large-scale. " (A. Warsaw).

Scientists do not indicate direct relationship between Rafael and Bramte (given the help that Rafael has the latter, suggests this naturally), but also do not deny such a probability. Rather, they were good friends or friends. As I.A. writes Bartenev in the article "Rafael and Architecture": "Raphael was invited to Rome for the painting of the Vatican Palace. This work occupied for a long time. In 1509, the artist received the permanent position of the Apostolic Painter at the Pope of Julia II, who had committed to him the painting "Stanz". In these years, it works in parallel with Bramteh, which has a great influence on him. Undoubtedly, then Raphael is comprehended by a lot in architecture. During this period, Bramte is developing a project and starts building the Cathedral of St. Peter - central construction of the era. There is no doubt that Bramte is dedicated to Raphael in the course of their work, which was of great importance for the subsequent stage of the construction. He became a mentor and patron of a young master. Working on the Vatican Palace, Rafael the main attention focused on the painting of the four papal chambers. Vatican stains are perfectly connected with the interior, they are inseparable from architecture. This is one of the brightest and convincing examples of genuine synthesis of the era of the Renaissance. " According to Grazhenkova, the Vatican frescoes of Rafael, along with the "secret evening" Leonardo and the Siskstinsky ceiling Michelangelo - is the top of the monumental painting of revival. "... The main attraction of the Vatican, in addition to the Sistine Chapel, is undoubtedly the stans (Stanza - Room) - three not very large vaulted premises on the second floor of an old, built in the middle of the XV century part of the palace." (Warsaw). At first, the average of three "stans" was painted - "Della McNatura" (Segnatura - Italian "Signature", papal documents signed here) (1508-1511) and followed, for six years (1511-1517) D'ELiodoro "and" Del Incradio "station. "However, the frescoes in the third stage were mainly fulfilled - not very well - his (Raphael) students: the master was busy with other orders. But the painting in the first two stans became not only pride and the glory of Rafael, but also the pride and the glory of the entire art of the Renaissance, all world art. " (A. Warsaw). In general, the muffins of the station Del Infendio began on some data in 1514 and lasted until 1517. Master spent a lot of time on the construction of construction and the creation of carpets, to decorate the Sistine Chapel. The monumental style of Rafael developed and changed, and, reaching the climax, began to fade. "The history of the creation of Vatican frescoes of the Master - as it were, a compressed, concentrated history of everything classical Art High rebirth "(" On the art of Raphael ", p. 33). Researchers believe that the literary program was based on the Literary Program, which SCIENTIFICS SCIENTIFICS AT RAFAELI. Of course, he himself could choose. It is believed that there was no strict regulatation of the work. The true interest of scientists is caused by those "as an abstract and didactic idea about the consonant unity of religion, science, art and law ... Rafael translated into the language of painting ...". (ibid.). The structure of the frescoes, according to Grazhekkova, is predetermined by the nature of the room and the "semicircular completion of the walls of each" machine "served as the initial rhythmic leitmotif in the construction." In turn, it was noted that "the architectural and rhythmic unity of all parts of the painting is complemented by the coherence of their coloristic building." In the painting a lot of gold in combination with blue and white colors. Backgrounds are painted in the form of a golden mosaic or in a blue field Golden ornament is given. This gold is combined with an abundance of yellow tones in the murals of the walls ("dispute"). The light gray architecture of the Athenian school is also a little golden. All these color combinations generate the "colorful unity of the entire ensemble and the mood of the happy and free harmony of being, which directly prepares the deeper perception of individual frescoes." Despite the division, parts form full artistic independence. Just like painting Stankovaya. Scientists emphasize that there is nothing forced and frozen in the composition of Rafael. "Each figure ... preserves the false naturalness inherent to it. Her connection with other figures is due not to an impersonal spiritualism of a common ascetic idea, as in medieval art, and the free consciousness of the highest truth of those ideals, faith in which they collected them together "(" dispute "). In the "Athenian school" Rafael, the mediation of painting, reconciles and connects together Plato and Aristotle. I.A. Smirnova in the article "Machnaya Della Seneture" notes that the frescoes of the "dispute" and the Athens School "most fully, expanded the image of a harmoniously beautiful universe of Raphael. Their spatial decision creates a feeling of "openness" of this world for us, expands the space of the hall, informing him the majestic equilibrium of centric premises, filling it with light and air. " The article touched upon the Issues of the Software Software Software Software, after analyzing the data, Smirnova summarizes: "... the hypothesis that" Machina Della Seniyatura "was intended for Julia II for the Supreme Papal Tribunal, not yet refuted." And further: "... neither this appointment nor the topic of justice and its divine origin exhaust the Rafael's painting program in all its complexity and wealth of values. Moreover, they do not exhaust the majestic, diverse and beautiful world of ideas and images, inspired by the humanistic concept of perfection, harmony and mind, which brings before us on the walls of the Rafael "Machnaya Della Senetura". " In the characters depicted on the frescoes, the meaning and essence of the epochs that humanity live throughout the entire historic space. They are frescoes - carriers of symbols of ideas and ideas of humanity. According to Warsaw: "One of the ... the greatest in the history of mankind of creatures and are paintings in the" Machnika Della Senagatura ", with their famous" dispute "," Athens School "," Parnass "and with fresco on justice, as well as many other individuals Compositions and allegorical figures ... The depth of the generalizations, the tension of the colorful brush, the sharpness of contrasts, the dynamics of dramatic images, a rare composite gift - all testified to the huge and all the growing skill of the artist, ... and in the idea of \u200b\u200bexecution. " (Article "Sicstinskaya Madonna", A. Warsaw).

In the "Machnaya Della" Style of Rafael is characterized as "graceful and grandiose", but already in the "Machnod D'ELiodoro" it replaces the monumental and more dramatic. "Figures have lost the grace and ease."

It is worth noting that the world "depicted in the frescoes" Metal Della seventies "was venerable." Frescoes "Machnod D'ELiodoro" "depict concrete scenes of church history." The former calm disappears and in the architectural construction of the frescoes - the space is rapidly deployed. No sky blue sky. "Architectural scenery is tested with dense rows of columns and pillars, hang over head of heavy arches." Now "Real and perfect forms a more complex and expressive alloy here." One of the plastic motifs that Rafael applied to different tasks, You can consider a circular composition. Of course, such techniques, favorite, quite a few. But, changing and moving from work to work, they are fairly recognizable. They were subsequently used by other masters. R.I. Chlodovsky writes: "Contemplating the frescoes of Rafael, we can not only see what was the highest ideal of the culture of Italian revival, but also more or less clearly understand how this ideal was historically developed. ... The self-reflection of the art of Italian revival was combined with Rafael with Renaissance historicism. In the plots, "Machnaya Della Senetura" depicted ideals, historically preceding the ideal of Rafael's fresco and in this ideal present. " Summing up the presentation of the material on the painting of the frescoes, it must be said that for Rafael they were not at all scenery for the pleasure of the eyes - the artist appreciated the strict proportionality of all parts of the whole, "each figure should have its own purpose."

T. K. Frescoes "Stanz" are painting a monumental, which is closely connected with architecture, will not be superfluous to mention the architectural creations of Rafael. In the article I.A. Barteneva "Raphael and Architecture" find a lot of valuable information. For example, scientists write that Rafael "with their architectural creations had a great influence on similar works of their students and on all the subsequent development of Italian architecture." The master worked on the design and construction of structures directly, also wrote a kind of projects directly on the canvases of paintings and, even, performed frescoes of ornamental-decorative paintings. In general, "combining in one person of several artistic professions" for Italy XV-XVI centuries. - This is the norm. The continuity in the transfer of the profession and the mastery itself from generation to generation was very common. Also, the epoch was also distinguished by consistently training in various professions. "In the Italy of the time under consideration, in fact, there were two" adjacent "professions - the painter-monumentalist and painter of pictures, just as there were no separately monumental sculptors and masters of small plastics. Artists worked on painting structures (if we take painting), and they also worked out the machinery. ... In the machine paintings of the Masters of Renaissance, the traits of monumentality were attended, and at the same time wall paintings had all signs of realism ... Painting was united, and it facilitated the improvement of it and at the same time the contact of artists with architecture, solving the tasks of making facilities, painting structures "(I.A. Bartenev" Rafael and Architecture "). As already mentioned, from 1508 Rafael carries out work on the decoration of the Vatican and knowledge / skills obtained in Urbino and, especially, in Florence were developed and fastened with the impact on the young artist of Roman antiquity. "It is known that the architects of Italian revival from an early time cultivated type of centric dome church They opposed the traditional Gothic Basilica. It was their ideal, and to approval of this ideal they made persistent efforts. This process is traced in the works of Brunlelevko and reaches its apogee in Bramte's creations, in the famous Tempites, actually the first Roman construction (1502), and, finally, in the Grand Project of the Cathedral of St. Peter. (ibid.). Back in 1481, in its fresco "Transfer of Keys" of the Sistine Chapel, Perugino depicts the Rotional Temple in the center. And after the past twenty years, Rafael returns to the same topic. But "Architecture of the rotional temple of Raphael collected by the similar composition of Perugino ..., it is more fledged, and the proportions and silhouette are distinguished by amazing perfection and grace. The grace, some kind of sophistication and sophistication of the forms, with the full conservation of the sense of monumentality, is the characteristic qualities of Raphael as an architect. " (ibid.). It must be said that the architecture "with the involvement of a number of motives" is perfectly depicted in frescoes. The architectural background of the "Athenian school" reproduces the interior of the Cathedral of St. Peter. Bartenneva says: "... It can be assumed that the entire Stafferage of the Athenian School was corrected by Bramte. ... The magnificent architecture shown here is the mighty foundations - the pylons of the temple, decorated by an order - Tuscan pilasters, widely "swollen" over them are caissious vaults, sailing systems, niches with statues, reliefs - all this is drawn to the highest degree professionally, in excellent proportions and testifies Free possession of architectural means. The nature of architecture ... embodies those traits that characterized the architecture of the high rebirth period ... "(" Rafael and Architecture "). After Bramte's death (1514), Rafael leads the construction of the Cathedral of St. Peter. In help, he was attracted by Fra Jocondo da Verona, who was more experienced in construction and could solve some technical moments. In the summer of 1515, Rafael was appointed the chief architect of the Cathedral, and the obligations of these it will be fulfilled will be 5 years old, until the death of Death in 1520, Bramte has developed a project of the Central-Dome Temple, symmetric for two axes. The highest clergy wanted another, therefore amendments were made "towards the full development of the input, western part of the part." According to researchers, Rafael had to solve a difficult task on the alteration of the Cathedral plan. Perhaps he did not need such innovations, but the clergy, after leaving the "main author", forced the masters to proceed to process. Rafael did not have time to add to the main core of the composition of Bramte "Multalone Western, the entrance". Soon he dies. Bartenev writes: "In the case of implementation, the main facade would be strongly nominated, the domed part, respectively, would send visually to the distant plan." The artist in Rome was engaged in the "study of ancient monuments." After the death of Fra Jocondo in 1515, Rafael appoint the main "Keeper of Roman antiquities." He took part in the excavations of the "Golden House" of Nero and Term Trayan. Decorative paintings ornaments were found. These murals decorated underground rooms - grottoes (because these ornaments were named grotesca ). Taking advantage of finds, Rafael boldly applies grotescas in San Dazo loggia. According to Bartenev: "... This is not about copying certain or otherwise, but about the free, creative approach, about the free layout of the individually drawn motifs of the geometric, anti-zing architectural order, visual, vegetable, with the inclusion of animal images, etc. ... topics." Also, Rafael uses grotescas in the loggia of Madama Villa and a number of other monuments of the XVI century. Researchers of the creativity of Rafael believe that it can be called "the founder of the ornamental-decorative art of high rebirth". The head of the court of San Dazo was called "Loggia Rafael".

The buildings of Raphael include: the church of Sant Elijo Orefichi deli (for the Jewelers of Rome) - in the form of a Greek plain cross; Square Capella for Family Agostino Kiji - In terms of square, with a small flat dome; Palazzo Vyononi is a bunk in structure, with a massive rushed first floor and a light portion of the second tier with double-fourth columns of the Tuscan Order; Palazzo de Brescia in Rome - with an order in the form of a pilaster; Pandali Pandolfini (in the drawings of Raphael) is a two-story building, which, adjacent to the garden, does not have an ordinary closed yard. As Bartenev writes: "The composition, developed by Bramte and Rafael, marked the emergence of a new system of the facade decision of the Italian Palazzo .... Orders ... established himself as the main topic of the facade decision. ... Building this (Palazzo Pandolfini) ... was a model of the city mansion-palace ... " Such facades, as in Palazzo Pandolfini, Palazzo Farneza (his author Antonio Sangalo Jr.) will receive development in the XVI-XVII centuries. And later, and not only in Italy.

It should be noted that "... In the loggia, Madama Villa sculptural and picturesque ornamental funds introduced by the artist, those grotesk motifs ... reached ... a complete expression and developed in ... a pronounced plastic system. .... Extraordinary compositional ingenuity, diversity, grace and refinement of the drawing remain and accustomed unrivaled, ... classic samples. (Bartenev).

"The architecture of Italian Renaissance ... is characterized by complexity and ... contradictory of development. Rafael was at the highest point of this process, but the main line of movement in the architecture was not through his work. At the same time, the latter is one of the brightest phenomena in the architecture of Italy, the Chinkovento. And the originality of his artistic personality in the architecture is that he was mainly an artist and primarily by the artist " . (I.A. Bartenev).

It should be said about how modest biographical data on Raphael. V.D. Dazhina in the article "Roman Surroundings of Rafael" writes:

"On the personal life of Raphael, about his relationship with friends, assistants, colleagues and customers a little known, much more legends, with him connected."

Vazari, the author of a considerable number of sovereign artists, volunteer or accidentally gave food for the legends of Raphael. Scientists believe that, despite the richest information fund, in the works of Vazari a lot of some software and panthetics. Nevertheless, you need to especially carefully look closely to the length passages of Vazari about Raphael, because it is a little bit about him than we have, precious.

"In the life of Vazari Rafael appears as an active organizer, an artist who is in a tireless search, a person, with an inexhaustible curiosity, knowing the new, drawing from the great heritage of antiquity creative inspiration." ("Roman Rafael's Surroundings").

V.N. Countains writes in the article "On the art of Rafael" speaks of the nature of Raphael, as "soft and feminine", "endowed with sensitive susceptibility and easy influence." There is no doubt, at one glance at the painting of the Vatican "Stanza", which precisely helped the artist to achieve the height in the visual art, which it is so difficult to achieve.

The compositional solutions of Raphael are incredible, perfect. Specialists belong to this particular exclusivity of architectonic nature, such close monumental painting. All this is especially true in relation to the Roman period. In Florence, where Rafael was mastered by the skill of the composition and the ability to transfer plastic expression, he prepared himself to know what could not know - which was waiting for Rome, where he began to work since the end of 1508 from the provincial artist - the author of small elegant paintings and charming artists "Madonn" - he turned into a master without delaying the masters, eclipping someone who had recently studied.

As for the external influences on Rafael, his tendency to imitation can only be attributed to the period of adolescence, because later the position of a mature master, formulated by Giovanni Francesco Pico Della Mirandola, becomes clear: "Imagine everything good writers, not some one, and in those things where they have reached higher perfection, and so that there is no own internal dating, but, on the contrary, the thread of the story headed according to the inclination of the Spirit and the image of speech speaking. " Applicable to fine arts, it is quite consistent with the work of Rafael: he did not copy one or many, but on the basis of acquaintance with their works he developed his own style. According to Pico, like Rafael, the authors are diverse and everyone, in its own way, is excellent. "With this understanding of the imitation, where the tendency of the human spirit and the diversity of the forms of expression is taken into account, it is recognized as natural and inevitable, the idea inherent in the Master's mind becomes an individualizing art style principle" (O.F. Kudryavtsev "Aesthetic search for Humanists of Raphael Circle").

As writes LM Bragin in his work "Aesthetic ideas in Italian humanism of the second half XV - Start XVI in." The humanistic ideal is embodied by Raphael based on the classical style of high revival - the synthesizing stage of the Renaissance art of Italy. This stage was prepared not only by the spontaneity of the development of the art itself, but also the maturity of humanism, the maturity of ethical and aesthetic concepts. Here it is necessary to mention the processes that contributed to the rise of the culture of this time. Bragin writes: "... The aesthetic theory of the Renaissance summarized the ancient aesthetics and often through her prism mastered the experience of new art, based on the heritage of the ancient masters. On the other hand, the art of revival not only perceived through high samples of ancient art principles that processed in accordance with their tasks, but also absorbed the theoretical thought of humanism with its new plants of consciousness and orientation to a new way of perception of an ancient heritage. " Based on this position, "we can talk about a kind of typological relationship between the ideas about a person, the good, the beauty, embodied in the works of Rafael, and the relevant ideas of the aesthetic thought of high revival."

So, we were talking about those ideas (concepts), which can be allocated when considering the period of development of the aesthetics of the Renaissance from the second half of the XV - beginning of the XVI century. In the 50s - 80s. The fifteenth century "The largest contribution to the aesthetic thought of humanism was made by Leon Batista Alberti, Martilyo Ficino, Giovanni Pico della Mirandola. 90s. It can be considered as the next stage in the development of renaissance aesthetics, noted not so much by the appearance of new concepts as the trend towards the synthesis of the main results and conclusions, to which various lines of the evolution of the aesthetic thought of the previous period. ... Each of the great artists expressed a special, painted by the originality of his personality understanding of ethical and aesthetic problems of time and enriched the ideals of the Renaissance culture creative discoveries. The relationship between the processes flowing into the humanistic aesthetics and the art of high rebirth, the inner proximity of the quest allows you to perceive the theoretical achievements of the Renaissance artistic thought, not as a background to understand the creativity of Rafael, but as the spiritual environment of the formation and development of his art with which it was organically connected "( L.M. Bragin, Ibid).

I consider the views of Mario Ekwicola, the most important and interesting position for me (1470-1525), which served as the courts of the ruler of Ferrara and Mantu. His treatise "On the nature of love", according to scientists, became a sample of humanistic topics on "love philosophy", an ethical and aesthetic encyclopedia, where this topic, although he rested on a neoplatonic basis, acquired a secular orientation (L.M. Bragin, there same). According to Bragina, at the beginning of the sixteenth century, the characteristic features of the aesthetic thought of humanism was "growing overcoming the metaphysical approach to the interpretation of love and beauty", such a conclusion can be made, based on the writings of Kattani, Ekwicola. The latter, according to scientists, popularized the neoplatonic aesthetics and the production of certain stamps that influenced the formation of tastes and the mindsetting of the artistic intelligentsia. At the same time, it is impossible not to notice that the popularization of the neoplatonic concept of love led to a simplified understanding of the Neoplatonism system. As Bragin writes, the philosophical position of the humanists is marked by eclecticism and only the final conclusions of the author are equivalent to the neoplatonic concept. In fact, the author's arguments themselves often contradict it, they turn out to be much more "thought-minded" than "divine". (ibid.).

Humanistic ideas were affected by artists, equal to customers, forming their ideology. At that time, the creativity of Rafael was folded and bloomed. (ibid.). O.F. Kudryavtsev refers to M. Dvorakhak, who says that Raphael refuses "specified plot schemes and naturalistic trends characteristic of creative arts of the Quatrochetto, which began training in painter." "Rafael in the" Athenian School "and in subsequent works distributes figures and mass significantly more freely." (M. Dvarak "History of Italian Art in the Renaissance"). Raphael, as Kudryavtsev writes, aesthetic perfection is the main goal of art. Hence the "architecture equilibrium", and very "free composite solutions", and even the "ideal typology of the characters." Grace and beauty in the works of the artist is a consequence of the synthesis, which Raphael attached paramount importance.

Based on the ideology of humanism, it can be represented that close to Rafael - Baldassare Castiglion, Pico, Btembo and other high revival art theorists "inherited interest in the problems of the beautiful, in search of his seeing the subject of their activities." ( O.F. Kudryavtsev "Aesthetic search for Humanists of Raphael Circle") . Kudryavtsev notes that the concepts of "grace", "gracefulness" are especially common in the application of Raphael. And let them interpret, sometimes, contradictory - Castiglion and the work of Raphael inevitably close in understanding / representation of "grace". The article provides a quotation from E. Williamson article:

"... Creativity and the other is built on the concept of grace, which they equally shared and which in the same form and to the same extent not inherent in any other writer or artist" (E. Williamson "Grace Concept in the works of Raphael and Castiglion" ). The medieval understanding of the grace continues to live in the culture of revival, being rethought. As Kudryavtsev writes: "Grace is the grace, or an attractiveness with the fertile nature. .... Thank you are primarily a friend and attractiveness, and it can be given any nature capable of creativity. And such possesses both the person, this ... "earthly god", "universal master", unlimited in his potency up to what can create his own nature. " This means that only an individual is able to make a reasonable choice of the path when issuing questions, the author of the article indicates that "the artistic thought of revival, having come to the realization of the importance of the subjective factor (based on the Renaissance concept of a person as active and independent in their actions of the creature), not It contrasted it with no less objective data, but, on the contrary, found the inextricable finest interconnectedness of these principles. " (ibid.). Also, Castiglion sounds the idea that deliberation and effort are able to dismiss the viewer from the work of art by law, because in art it is impossible to depict the most art. Let's say "to protrude" technical techniques. In any case, I understand this exactly. And since, the subjective perception and transmission of the image in the high revival era is interpreted as absolute, the grace becomes the inner beauty of the image, the intimate and unknown constant, deprived of the usual measure. Castiglion writes: "Often and in painting, only one unbelievable line, one brush smear, laid easily, so it seems as if the hand is independent of the scarecrow or any art goes to his goal in accordance with the intention of the artist, it seems clearly the perfection of the wizard ..." . According to Kudryavtseva, "In relation to Rafael ... you can talk about the mutually engraving union of art and humanistic thought." Indeed, if you consider such quality as exposure to external influences, we will see that Rafael (following the logic of events) with its work was able to determine aesthetic aspirations in the modern society. Moreover, he could influence the art language and letter fine arts. Where does logic come from? Here I adhere to the opinion that I consider it completely, or belonging to the one I especially thank you for him. I believe that observation and, in times, imitation, are the main way to accumulate information / knowledge about the subject. Without a painstaking study of other people's achievements, already accomplished discoveries, a person is able to invent the wheel and consider itself a discoverer. Of course, it is simply impossible to have time to have time, but in many ways are in many ways - the task is solvable. For me, the question of imitation is not trouble, if only it comes to finding a style of own.

It seems to me, considerable interest "presents a document, widely known in the literature on the history of art and aesthetics as a message of Raphael Count Baldassa Castiglion. It is reliable that it is written on behalf of Rafael, addressed to Castiglion as an answer to an incredible letter, which was devoted to the discussion of the artistic advantages of the fresco "Triumph Galatei", created by Raphael in 1513. It is dating 1514, since in April of this year Rafael was Appointed chief architect of the Cathedral of St. Peter, as mentioned in the letter. " Of course, I can't talk about what it seems to me the most realistic in the versions of the students who put forward by scientists - whether it was written by the artist, whether Castiglione from the face of Raphael, this document itself, compiled this document Pico ... anyway, the similarities of the views of these People for a number of issues are obvious after analyzing scientists (in this case, I am talking about the work of O.F. Kudryavtseva). For me, the text of the message, which I will give in full:

"And I will tell you that in order to write a beauty, I need to see a lot of beauties; Provided that your clay will be with me to make the choice of the best. But due to the lack of both in good judges, and in beautiful women, I use some idea that comes to me. Does she have any perfection of art, I don't know, but I try to achieve it very much. "

This is added again:

"I would like to find the wonderful forms of ancient buildings, but I do not know if Ikara will not be flight. Although Vitruviy and sheds for me to this big light, but not so much however, so that it was enough. "

Why is the letter seems to me so important and interesting? Because it contains the views that I find consonant with my own. And even if the authorship of the document is not indisputable, it reflects the creative method of Raphael, who is not so much known (and not only) theoretically. Of course, the letter reflects the aesthetic search for the artist. It reflects the positions inherent in humanism - imitation, as rivalry with ancient and perception, as the development of ancient traditions.

Now I would like to mention the relationship of Raphael and sculpture, despite the fact that the researchers note the small number of works on Rafael sculptor. After reading the article M.Ya. Libman "Raphael and Sculpture", I made my conclusions. My knowledge does not allow me to respond about the ensemble of Kiji Chapels in the Roman Church of Santa Maria Del Popolo, where the artist "acts as a co-author and an inspirer of the sculptor" Lorenzetto. But it is impossible to bypass the attention of work, which, according to Shirmen, "never attracted the attention to the attention they deserve. Shirmen marks the picturesque nature of the statues. The statues of ions and Elijah, made by Lorentzetto, "were clearly designed for the production in certain towards the altar and the entrance of niches." From the materials of the article it follows that Rafael was looking for a marbleder to work in Kijji. "Lorentzetto was the middle hand with a sculptor. It would be possible to remember about him if he had not embodied the sculptural ideas of Raphael in the material. " He, you can say, was lucky enough to convey the views of Rafael on plastic. Thanks to these works, we can see a distinct picture of the creativity of Rafael. Libman notes that Rafael was very interested in sculpture, because in a number of his work, images of statues and reliefs are in fact. The article solves the question of who was a ideological inspirer to create statues - Rafael himself or Lorentzetto (it is known that the statue of Elijah was completed after the death of the artist). The issues of the influence of the creativity of Rafael on the sculptors of the time (Andrea and Jacopo Sansovino) are affected. For me, the main thing is that the statues exist and, thanks to this, you can imagine Rafael - sculptor. The fact of the presence in the creative circles of Michelangelo, the genius of plastics, who could not eckle even Raphael could seem completely natural. This explains if not all, then much. In general, it is strange to argue about who is more significant in painting, sculpture ... I consider the right outcome to be the one that is given in the Libman's article: "If there would be more sculptors in the workshop of Raphael, there may be a school of sculptors to be formed Rafahaezkov. " Despite the multi-facetedness of the talent, Rafael (I think that it is not only possible to talk about it) simply did not have time to use equally every face of his talent. Especially, if we consider that the sad fact that the artist lived so little (Rafael died 37 years old from the genus, in April 1520, from the heart, which does not indicate the true cause of illness and death), he managed a lot.

The achievements of Rafael can be safely attributed to the influence of its work on the development of many types of applied art. "It was especially bright and directly manifested in high-tech, and although a number of Italian artists already to Rafael participated in the creation of cardboard for wall carpets, Rafael was destined to determine the further development of this most important branch of applied art" (N.Yu. Biryukova "Rafael and development of heat weaving Western Europe»).

This type of art was thriving in France, Flanders. As Biryukova notes, "The composition of the steller ... was still within the tradition of medieval art. ... Perspective construction was almost absent, flatly projected figures filled out all the space of a wall carpet, the flavor was distinguished by a large laconicism, since the colorful gamma usually did not exceed two tens of tones. The departure from these composite principles was due to the appearance of a series of cardboard cards for a plumber on the plot "Acts of the Apostles", ordered by Raphael Pope Lvom X in 1513 and completed at the end of 1516. Toplers performed on these cards were intended to decorate the bottom of the walls of the Sistine Chapel " This series included ten trellis. Rafael presented surround figures, located not on the entire plane of the carpet, but placed on the background of landscapes with space. The style of the steller is monumental, clothes of characters are tunics (sometimes, heroes are sealless). "On the Flemish XV Tremers. The most sublime plots made up a variety of domestic details. ... Figures ... depicted in lush, enjoyed by many details of the costumes of their time "(Biryukova). Cards, created by Raphael, "sent ... by different ... Ways to develop the compositional and stylistic features of the woven wall carpet" (Biryukova). Of course, Rafael had an influence not only on the compositional characteristic of carpets, but also on the framing - borders. The master introduced grotesque motifs into vertical carpet currencies, which were alternating with allegorical figures. "Very soon, a border from stylized colors, characteristic of the twenter of the first two decades of the XVI century, was replaced by a border composed of grotesque motives and allegorical figures" (Biryukova). From the article it follows that Raphael's cardons brought cluster with painting. Thus, applied art is no longer just craft, but high art. Agree when Cardons for carpets paint Rafael, Rubens, Kek Van Alstan, Vermeen, difficult to underestimate such work. The works of ceramists - artists who moved from ornamental painting from individual figures of people and animals, to a multifiguric narrative picture. In the painting of Italian majolica, the Renaissance was clearly imposed. In the article O.E. Mikhailovoy "The use of compositions of the works of Rafael and his schools in the painting of Italian Maitolika" it is indicated that after 1525, Rafael and his school makes the artistic fantasy of ceramists. " Mentioned the names of the masters, as Markantonio Raymondi, Agostino Venetsiano, Marco Yes Ravenna ... Mikhailov, in the article, notes that the reproduction of engraved sheets, in the maidolichn painting it was not always possible in accuracy. Many ceramists worked on the composition of Rafael and here you can add only one thing: "No artist of Renaissance, and more and later, could not pass by the works of this genius. And the masters are ceramists, using the Italian printed graphics, reproducing drawings, paintings and frescoes of Raphael, not only raised Italian Majolik to unprecedented high art level, but also brightly reflected in this form of applied art with the era of the revival and spirit of their time. "

Conclusion

In total, Rafael will not tell. It seems to me that the authors of work on the life and work of the artist so, in my opinion, are unanimous in his estimates life path: "Rafael was a happy artist", "the bright genius of Rafael was not inclined to psychological innergities," "Rama Raphael found strong and powerful patrons." In a word, reading these excerpts from articles, I have a strange feeling that scientists themselves often contradict themselves. Will explain. In the article V.D. I read the databa "Rafael and his environment": "Externally sociable and open, Rafael rarely visited someone frank and soulfully. He had an extensive circle of acquaintances, but few real friends. " Does this mean that make some conclusions about the artist and his life - the manifestation of inconsistencies? Can there be many real friends? Communicating with scientists by Humanists of Renaissance, was Rafael himself so easily predictable for foreign people? As A. Warsaw writes: "... Rafael, undoubtedly, was a widely educated person, a man, thoroughly and powerfully. And if it was necessary to call the most important, determining, the most important feature of a great painter should, probably, say so: the striking ability to generalizations, the striking ability and the ability to display these generalizations in the language of art. " It is possible to attribute this statement and at the expense of Rafael Creator, and, which is also true, at the expense of Rafael personality. "Despite the external fragility, he was a very courageous man, Rafael. I should not forget, in the year of transfer to Rome, it was almost twenty-five years old. Once by making a decision, he will not turn off the chosen path, and it is necessary to be surprised how quickly his genius is strong "(Warsaw). During his stay in Rome, he managed so much! "... the Vatican stans were partially painted, led the picturesque works in Villa Farnesin and Vatican's loggias, created cardons for those ordered by Lvi-kovrov, had a numerous orders of individuals and religious communities ..." (Datzhina). He was engaged in the protection and census of the ancient Roman monuments. Due to its performance and talent, Rafael provoked a union under the general direction of a group of talented artists. Special, naturally, he did not do this - was it a busy master time for self-exploitation? And the workshop it has increased himself, because they touch the knowledge and talent so natural! Such associations, according to the observations of the researchers, did not arise more. Communication with Rafael formed other talents, revealed them. The death of the artist ne. the best way influenced the work of individual students. Of course, I speak only about some, because, Francesco Penny (Fattore) retained the poeticity and gracefulness in his art. Giovanni da Urine took over and developed not only the thought of Raphael, but also carried through the life of the gift to write ornaments and elegant grotescas. According to scientists, he jested his love for Rafael through his whole life and even buried next to him, in Pantheon. Such examples are quite a lot. "Humanistic education, multilateralism creative interests, passionate passion for the ancient architecture and archaeology near Raphael and Peruszi. There were both their participation in the design of holidays and theatrical productions "(Dazhina).

Perhaps I could not understand something important about Raphael, but reading this: "Another Vazari introduced to this opposition (Raphael - Michelangelo) his subservation in the failures of Michelangelo with the tomb of Julia II and in the removal of him from Rome in the times of lion x consequence The intrigue of the Circle of Bramte and Raphael, "I do not leave me - is it known to be reliably? In general, the opposition of two colossal creators of that time is it possible? I still grieves such a classification as "Titian - received a county title; Rafael - Papal approximate. " And in addition to this classification: "The style of life, social behavior and the nature of the work of Rafael embodied the features of the new social type of artist - the organizer, the head of large picturesque works, leading the lifestyle of the courtier, possessing the secular gloss, the ability to lavish and challenge the tastes of the customer. True, during the time of Raphael, all these qualities were only drawn up ... "(Datzhina). And this can be considered a kind of evaluation? How then takes to the phrase: "The new dad consumer related to the talent of Rafael, an exorbitantly loading the artist of all kinds of work ... Such a chaotic waste of the forces led to a gradual devastation, creative passivity, gave rise to a certain detachment of the artist from his creations, that chill that testified to the crisis Rafael style in the late 1510s. Only in the portrait, the artist felt still freely and worked independently of whose whose "(Dazhina). It seems to me right that such a dependence was inevitable for Rafael, because the circumstances / conditions of him, it was his life, forced to live at the court and work not only independently, but also by orders. Researchers write that the artist did not like the Papal Dvor because of the intrigue, hypocrisy, envy. He was a good acquaintance of a papal jester, the withal of Fra Mariano, and the enlightened Cardinal Sanseversino. Agree, at the courtyard, the concentration of educated and enlightened people, at that time, could be higher and therefore Rafael was forced to "be profitable" under one for communication with others. Without knowledge and knowledgeable people, not only artists (and not so much), it is very difficult to come to the fact that in Raphael so valuable - abilities to objective generalization. No one will be able to vouch in the fact that Rafael's Genius from the Papan court would have achieved those heights in which his creations lead us.

Probably, in conclusion, it would be necessary to write about those impressions that artist's work on me. I also wanted to call for a reasonable use of any information about a particular person, an event. It must be remembered that many people who heard, anywhere, incorrect information about the com / than either, may never know the truth and reasoning about the subject is sometimes unfair and cruel.

"The creativity of Rafael Santi belongs to the number of those phenomena european Culturewho are not only wrestled by world glory, but also gained special importance - higher landmarks in the spiritual life of humanity. For the five centuries, his art is perceived as one of the samples of aesthetic perfection "(the editorial board of the collection" Rafael and his time ").

List of used literature

1. Raphael and his time. Ot. editor hp Chicolini. M.: Science, 1986.

2. Fate masterpieces. A. Warsaw. M.: 1984.

Brilliant artist Raphael Santzio Born in the small Italian city of Urbino in 1483 as most of the Italian cities of that time, Urbino was an independent state managed by the Duke of Federigo de Montefeltro, who was famous for his love for art and sciences. His son Gwidobaldo da Urbino made his yard firmly in the outstanding minds of Italy. Urbino in this regard was not an exceptional city. Love for sciences, art was a distinctive feature of all Italian cities of the Renaissance.

Rafael Sanzio comes from the family of a small merchant, the artisan of Gioveni Santzio. Gioveni had his workshop, in which the images wrote, were finished furniture, saddles, and various items were golden. The concepts of the artisan and the artist then were not divided, - all the objects of the crafts were in a greater or less artwork, everything was created on the basis of high demands for the beauty of things. Rafael since childhood participated in the workshop of the Father. Showing early a tendency to draw, he began to learn from his father, who, if he was not a wonderful painter, he understood and appreciated painting. In his youth, when Joanni passed a period of apprenticeship, he often wandered and wrote a lot. And now its work has been preserved (for example, "Madonna, surrounded by saints" in the Church of Santa Croce in Fano).

Urbino was not at this time the center of some picturesque school, like Perugia, Florence or Siena, but the city was often visited by many artists who performed separate orders and influenced Urbinian painters. In Urbino, Paolo was announced, Piero della Francesca and Melozzo da Forli, who fulfilled four allegory of "free arts" for the Urbinsky yard, is a work, full of great calm.

In 1494, when Rafael was only eleven years old, his father died. The Sanzio family consisted at that time from Bernardine - the second wife of Gioveni (Mother Raphael, died when he was eight years old), two sisters of Giowani, Little Rafael, Uncle - Monk Bartolomeo, who was appointed guardian of the future artist. Family members were not very laid with each other. In the family of his Rafael, it was living up to 1500. This period of Rafael's life is least known. In any case, it is known that Rafael was engaged in painting all this time and was a student of the artist Tyotheo Viti, who worked at the court of Federigo de Montefeltro.

In 1500 Rafael went to the nearest city of Perugia, famous for his masters of painting. In Perjezia, the painter Pietro Banchucci's painter lived in those edges, better known under the name. Perugino had his workshop, a large number of students, and in glory with him I rolled in Umbria only Xinorelli, who lived at this time in the city of Corton, who was a little further from Urbino than Perugia.

Perugia was the center of all Umbria. Located on the rocky plateau, the city was a living monument of many eras. Everything in this city was drawn by art: ranging from the ancient walls, the gate of the Etruscan era, towers and bastions of feudal times and ending with the fountain history of Giovanni Pizano and Cambio Exchange, which served as a local banker corporation. Perugia lived a stormy life; Lively life proceeded on Square: disputes were solved here, festivities were arranged, the advantages of rulers and warriors, buildings and paintings were discussed. The life of the city was full of contrasts: crimes and virtues, conspiracies, murders, cruelty, humility, good nature and sincere greeliness easily got alongside. Managed Perjezia Papal Lean, who did not use the authority and was constantly threatened by the murder. Yes, and not only secret, but open killings were not particularly denied. At this very time, the city gave the master Perugino order to paint the local Birja "Cambio" by frescoes. So the "transformation", "worship of the Magi" and other works of Perugino, over which he worked for more than seven years.

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Worship of Magi.

Transfiguration

Michellandzhlo found the art of Perugino boring and outdated. Such an assessment was caused by the fact that the most conservative traditions of Quattrochito were still alive in Perugia (in the history of Italian culture there are periodization for centuries; therefore, the revival is conventionally divided into the following periods: Thicato - XIV century, Quattrocerto - XV century. And Ginkvotento - XVI in .). The artists created the compositions here, in some way to the old art. Primitiveness was their distinctive feature. Usually these pictures closely adhered to the texts of the Holy Scriptures. Artists did not know how to allocate the ideas exciting for their ideas, separating with due understanding required from random. Pictures of many quatrathist players - and the artists of Perugia were more than others - overwhelmed with details, figures, the picturesque transfer of the biblical theme was quite naive in them.

The Umbral School developed under the influence of Sients. Siena artists who wander around the cities and villages were left in the altars and on the walls of churches their naive creations, distinguished by some epic archaeism and iconographic monotums. The sublime conventions of these icon-shaped paintings distinguished the Siens from other Italian schools. The Siena School has improved medieval patriarchal ideals and although he achieved high mastery in their icons and was famous for the purity and subtlety of the contours, gentle and thoroughness of execution, still did not go beyond the framework of traditional image objects. So, the Siens turned little to nature, all their compositions were built against the backdrop of fantastic architecture, but the gentle azure of their paintings and the very conventionity and traditional monotonance were very loved in Umbria. Many Umbral artists developed under the influence of Sients.

It was not alien to Perugia and the art of Florence, which was at that time the center of artistic life and chose all the most bright and talented. Florence influenced the complexity and novelty of its artistic tasks, his bold humanistic understanding of beauty. The largest artists of Umbria - Luke Xinjelli, Perugino and Pinturikkio just created their wonderful works due to what was relying not only on Siena, but also to the Florentine tradition. If the Xinorelli influenced more Florence, drawing his attention to nude human body, Forming it and without that harsh and direct nature towards the limit logiciness and frankness, then Perugino closer to the Siens with their patriarchalness and artistic conservatism.

Perugino wandered a lot; He studied in Florence, working under the leadership of Piero della Francesca, as well as with Leonardo da Vinci at the Verrocko School. Despite all sorts of influences, Perugino remained still, in his spirit, a purely Umbrian artist loving soft and tender contours and touching images of Our Lady. Dreamy spiritualized persons His Madonn still make up the fame of the Umbral School. When young Rafael entered Perugino, the latter was in the zenith of his fame. He covered at this time the frescoes of Cambio halls. It is believed that Rafael took part in Perugino as a student, but it is definitely impossible to install it.

At first, Rafael worked under the influence of Perugino. The master of that time did not put the tasks of developing the individuality of the student, but only reported to him the technique of skill. The disciples often painted the sketches of the master, made less responsible parts in the works, and sometimes all the work, with the exception of its overall composition and final finish. Perugino, being a popular artist, was so overloaded with orders, which very often completely reproed to their students.

Madonna Rafael, who will be in the future in the future in the artist's work, in the first period of his training in Perugia carry traces of influence. Perugino. Some of these Madonnes were made in the drawing of Perugino or his assistant Pinturikkio. Such is the Madonna Salt Collection (Madonna and a child with a book): She is a completely Perughinsky Creation, made by the discharge of the student (it is referred to 1501). Known Madonna Concontabille Della Staffa, written by Raphael at the same time. This Madonna is unusually naive and touching graceful; In it, Rafael is already felt as an independent artist, despite the fact that on the preserved drawings it is clear that they are made by Perugino or Pintonico.

Madonna Solly Assembly (Madonna and Baby With Book)

Madonna Concontabille Della Staffa

In 1503, after leaving Perugino to Florence, Rafael received the first major independent order - to write a picture of the "Coronation of the Virgin" for the Church of the Franciscan Monastery in Perugia. Many orders receive Raphael already as a master from the city of Chitta di Castello.

Coronation of the Virgin

In 1504, Rafael returns to his homeland, in Urbino, as an independent master. He is accepted in the Palace of the Duke Gwidobaldo, they give him a patronage. Here he faces the most interesting and scientist people of his time. At the court of Duke Gwidobaldo Rafael writes a small picture of Saint George, as well as "Archangel Mikhail" in the form of a valiant knight, embodying the victory of good over evil. The young artist was very highly appreciated at the court; The duke believed that Rafael is quite capable of becoming in the ranks of the best artists and create works that are not lower than all that was created before him in painting.

St. George

Archangel Mikhail, Lelfing Demon

Saint George, winning dragon

In Urbino, Rafael stayed only six months and, supplied with recommendation letters, went to Florence. The Florentine Republic was at this time the flowering center of artistic life. In one city, the genius, creating works of painting and sculptures, still remaining unsurpassed. And in Turkey, Florentine masters, architects and painters were known in Moscow.

And despite the fact that the whole people lived with art and among art, artists appreciated although highly, but not as artists, but as artisans who perfect their work. They paid the artists and architects monthly or for foot frescoes! True, more defined faces between art and craft have already been planned in Florence. Most artists came out of the folk medium. Their education is usually limited to knowledge biblical plots. By passing the course of the exercise, they were more involved in the subsidiary work than directly artistic labor. Although we do not have accurate information about the life of Rafael in the student years, but there is no reason to assume that he spent them otherwise. The exclusive abilities of Raphael helped him quickly pass quite a long time (often until fifteen) a student of apprenticeship, but his teacher Perugino himself could not give more what he knew. Therefore, when Rafael plunged into the fictional life of Florence, in which the arts stood at a high height, the prospect was opened here, they were engaged in anatomy, they knew and loved the naked human body, - he felt a student again, who needs to carefully look closely to the surrounding and draw From him knowledge. In Perjezia, Raphael himself had student himself and walked the master, and here he looked at him as a novice artist and did not give him public orders.

Rafael often drove into Perugia, led the works of his students, painted paintings and finally separated orders, but lived and studied in Florence. In Florence, Rafael is immersed in the study of nature, nature, the theory of perspective, perspectives, anatomical tasks. Here the composition of his paintings is drawn up: simple, but surprisingly harmonious and ordinary Madonns. These works of Raphael - "Madonna with a shoe", "Madonna in the meadow", "Madonna with a lamb", etc. - already lost the schematic character of the Umbrian school, they are quite realistic, tall and gentle, quite the earthly ideal of motherhood.

Maria with baby, John Baptist and Baby Jesus Christ (Madonna Terranova)

Madonna Del Granduca

Madonna with a baby on the throne with St. John the Baptist and Nikolai Mirlijsky

Small Madonna Cauper

Madonna in Greens (Virgo Maria in the meadow)

Madonna with carnations

Madonna and Baby, Saints and Angels (Madonna under the Baldakhin)

Madonna with a shoe

Madonna Orleanskaya

Madonna and Baby and John the Baptist in the landscape (beautiful sadman)

Reading Madonna

In 1508, Raphael is only twenty-five years old, but he has already created more than fifty machine paintings, one fresco in the monastery of San-North and the infinite set of drawings and sketches. Since Rafael has reached great perfection in his art, his fame in Florentine circles has grown steadily. The artist mastered the high clarity of the drawing, improving on high samples; He did not stop even before the processing of his unfinished paintings in accordance with new, higher ideas about beauty. Following the advice of Leonardo, Rafael, depicting their Madonn, avoids extra details and jewelry, which were in great fashion in Umbria and works on the landscape. Probably, at this time Rafael was already familiar with the "Treatise on painting" Leonardo da Vinci, who was written in 1498. He already overcomes the traditions of quatrathentists: disappears the stiffness of the manner and inability to discard the details, a more generalized realistic image refrigeration appears, a strict composition. The creativity of Raphael is not coming from the vague ideas, elusive emotions and naive observations - the act of creativity becomes deeply thoughtful, built on clear knowledge and understanding of reality. His paintings acquire noble simplicity, they can see the desire of the artist logical and extremely expressively implement his ideal of man in painting. Rafael is exempt from a closed artistic system adopted in Umbria with its shade of provincialism, and makes a perfect person in art, harmony of high knowledge and more complex ideas about painting.

Fresco of Raphael and Perugino in Chapel San North in Perugia

Allegory (knight's sleep)

Crucifixion with Virgin Mary, Saints and Angels

The engagement of the Virgin Mary with St. Joseph

Three Graces

Bless Christ

Holy family under the palm

Position in the coffin

Holy Katerina

Holy Family

No matter what the Italian cities were peculiar, of which everyone was an independent center and lived with his unique life, Rome stood out among them as an extraordinary, special city. At the beginning of the XVI century. Rome - the center of the papal state, the center of the Catholic life of the whole of Europe; In a sense he was the political center of Europe.

Pope Julius II, one of the most militant fathers of the church, led politics, mainly with blood and iron. The Acts of Roman Paps, the dual nature of the Renaissance era was particularly bright. On the one hand, the dads were the formed people of their time, they grouped around their most interesting people of their time and were imbued with humanistic trends of the century. On the other hand, they were the organizers of the Inquisition, fanked religious fanaticism. This epoch, most of all believed in the genius and human strength, gave birth to rulers - the subtle connoisseurs of art and at the same time the monstrous killers, bright and talented and often at the same time ugly in moral terms. One of these people was Julius II. He entered the story as one of the largest patrons, sincerely loved art and contributed to its development. Under Yulia, grand works were started in Rome, for example, the construction of the famous St. Peter's Cathedral. In Rome worked for the famous artists of Italy: Perugino, Peruutscio, Signorelli, Bothichelli, Bramantino, Baczi, Pinturikkio, Michellandgelo. Here we focused the richest monuments of architecture and painting from Jotto and Alberti to Michelland and Bramte. Completely unexpectedly, Rafael was invited to Julia II in this world city to take part in the painting of the Vatican Hall - Stan. Rafael until September 1508 has already begun to work in Rome. Julia so liked Rafael's projects, that he released previously invited artists and instructed him the fulfillment of all the work. In a short time, Rafael, who had a soft and sociable character and already famous for his success in the Vatican, received so many orders that he had to take on assistants and students, in other words, was forced to open a workshop. Rafael was to be primarily to paint the frescoes "signature" - the hall where the dad signed up his papers.

The first Vatican fresco of Raphael, known as the "dispute", is devoted to the glorification of religion; The second, located opposite the "dispute", depicts the praise of philosophy as a free "divine" science. Outside the window Rafael depicted Parnass, and below, on the sides of the window, Alexander Macedonsky, who orders put the manuscript of Homer to the Tomb of Achilla, their emperor of August, who prohibits the friends of Virginia to burn "Aneida." Over another window Rafael depicted allegorical female figures, personifying caution, the abbreviation, etc., on the sides of the window, the consecration of civil law by Justinian and the consecration of church laws of Pope Gregory IX.Mumerators, philosophers, dads, merchants and gods, who painted Raphael on their own The frescoes were the real people of Italy XVI century. True, Rafael already has some tendency to soften, smooth their sharpness and originality. He chooses his images and idealizes people less turbulent and rapid; The essence of Rafaelevsky realism is that it discovers some desire to the image of calm, quiet moods, balanced characters, not acute situations. Therefore, its compositions sometimes suffer abstract. Individuals and figures in these compositions produce a brighter realistic impression than the mood of the whole picture as a whole. The balance of the naive faith of the artist, who has already entered the glossy century of the Ginkvice, but still connected directly with the traditions of the Quatrocherto, could give birth to images similar to those depicted in the "Dispatch". In how "the argument of the Holy Fathers of the Church on the sacraments of communion" ("Dispan"), one can see something else from quatter-fisty painting. In the layout - a sharp oppression of the sky and the earth. Saints and God are located in the sky mechanically separated from the Earth. All interpretation of persons and regulations, the hierarchical location of the acting persons - everything reminds XV century. Particularly Umbrian character is the upper part of the fresco, depicting the sky and saints. Nevertheless, this first major composition of Rafael showed it as an exceptional and mature master. Rafael gathered all scholast philosophers here, whose names were made by sacred for the church: here and Thomas Aquinsky, John Scott, Augustine, as well as Dante and Savonarol.

Athenian school

Failing to the Apostle Peter from Dungeon

Failing to the Apostle Peter from Dungeon

Battle at oxa

Coronation of Charles Great Pope Lvom III in 800

Fire in Borgo

Machnaya Della Senytura

Celebration of Rights

Now, after the "dispute", Rafael wrote an "Athenian school", the fresco, brilliant on the skill of the composition. Rafael portrayed on that fresco of all wonderful Greek philosophers, putting two figures in the center, heading Greek philosophy - Plato and Aristotle, everyone with their writings in their hands. Plato points the hand raised up, as if claiming that the truth is located there, in heaven. Aristotle, personifying an empirical look at things, indicates land as the basis of all knowledge and thought. "Athens School" is one of the most interesting creations of Rafael. In this thing, Raphael has already reached the top of his talent, it feels all the newest that Raphael acquired in Rome - in Rome Leo X (successor Julia II from 1513) with his secular humanistic courtyard, in that Rome, in which A person was understood without a mystico-religious shell, in its entirety of its genuine vitality and opportunities. In this fresco, all people are independent, elevated individuality, endowed with a perfect spiritual and physical warehouse. With a common strict classical composition, the value of each figure is separately not diminished, and each figure is an artistic attitude independent, individual.

In the fresco "Athens School", despite the desire of Raphael to give persons too solemn pathos of thought, despite the symmetric composition, the types of philosophers, their faces and postures retain the strength of truthfulness. These are faces ordinary people, spiritualized by the all-consuming thought, the desire to resolve the exciting questions. Almost genre language achieve some figures; Such are a group of thinkers checking the correctness of the figure drawn by chalk on the styling board, and the figure of the young man, leaning against the column and in an uncomfortable posture concentrating something in his notebook. Passionally stressed persons from the group located on the left side on the lower steps of the temple; It is especially interesting to the face of the old thinker, linked to look over the neighbor's shoulder in the book that he holds in his hands.

In such an idealization of the power and strength of a person, the apogee of humanistic philosophy. Here, however, the other side of the creativity of Rafael is clearly actually acting: it is easy to see that the topic of the work and its implementation is close to the humanistic culture of the Roman court with his academic interests aimed at the style of style, forms, rhetoric. In Rome, the artist stopped being a Umbrian or Florentine Master. Raphael acquired all the colorfulness and realism of his creativity in the Republican Florence, but with his soft, militant nature, Rafael was the most Roman from the Renaissance artists.

With all his nobility, the face is often completely people, - there is no good refinement in them, they are not divorced from life. True, Rafael idealizes, but idealizes, creating these people covered by a single high impulse of people, real life. Here and young gentle faces, still covered with a fly, and the ugly heads of the elders. Mass variety in movements, expressions of persons and poses. All are filled with life and truth. The artist does not resort to implausible exaggerations, exaggerated by possession, in order to show the beautiful, majestic picture of the celebration, the holiday of human thought.

Rafael is often reproached in coldness and academics, especially in his works of the Roman period. In the frescoes of Heliodor's hall in the Vatican or Hall & LaqBorder: 0px none; Border: 0px none; Text-Align: Center; Text-Align: Center; UO; Fire Borgo "Idealization acquires a shade of an official. Something opera is already in the "Exile of Heliodor". Theatrical is the alignment of figures: right - a group of church robber and rider, sent by the sky, swallowing on the Earth of Heliodor, on the left - believers, affected by heavenly carure, frightened and disaminated. Deliberately the correct location of the figures distracts from the inner meaning. There are no warmth, concreteness of the feeling of living reality; There is something artificial in the figures, so beautifully arranged, as if the main care of the artist is to deliver a pleasant visual impression. The same can be said about the frescoes "Bolshenskaya Lintel", "Atatla, stopped at the Rome Gate." All these frescoes, as well as the frescoes "Fire Borgo", "Liberation of St. Peter from the Data", were to glorify the hierarchy, the greatness of the church and the power of the Paw. Historical or biblical topics acquired a topical interpretation. Despite the dramatic design of the frescoes "Exile Heliodor", in the general picture produces a cold impression.

The Fresco "Bolshenskaya Lintel" revives the old myth in order to glorify the hardness of the faith of Pope Julia II and frighten, to crumble not only the laity in this difficult to religion, but to call for the order and bold priests, laughing to doubt the "wonderful sacraments" of the Church. Nevertheless, individuals on this fresco are made fine. On the right side, soldiers of the Guardians of the Pope or his porters are located. They later noticed the miracle, and reacted pretty indifferent to him. Obviously, the artist was not very sought to include them in the overall mood of the painting. These are calm clear profiles full of worldly people who are far from what is happening. The main feature of their persons is a quiet nobility, resembling the faces of the best figures of Florentine masters.

Atatla, stopped at the Rome gate

Exile of Heliodora

The Vatican frescoes of Raphael are located in four halls: "signature", Heliodor, "Fire in Borgo", Constantine. In the halls "Signature" and Heliodor, Rafael himself wrote all the frescoes, resorting only to the slight assistance of students, Rafael wrote in the hall "Fire Borgo", by whose name is the whole hall, - His disciples took great participation in the rest of the frescoes: Joan Udinos, Julio Romano and Francesco Penny. In the Hall of Constantine, none of the frescoes were written by Rafael himself. Rafael prepared cardboard, which his students moved to the walls. The most significant of the frescoes of this hall "Victory Constantine" - was not yet started in the year of the death of Raphael. This is the most ambitious image of the battle in the entire history of painting.

During work on the Vatican frescoes, Rafael with the energy of the real man of Renaissance worked for another number of works. At the same years, his best Madonns were created. Starting from 1509 and 1520. He wrote them more than twenty. The so-called "Madonna Roman period" is distinguished by the great maturity of the talent and the clarity of the ideal expressed in them. Rafael created a type of a female mother performed by an extraordinary charity. Persons His Madonn, who always preserve their amazing earthly spirituality, is infinitely diverse by expressions in each individual picture.

Madonna di Foligno

Madonna Loreto

Madonna Alba

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

Extas Cecilia

Cross carrying

During the same years, the rich Roman banker, loving art, instructed Raphael Sanzio to write fresco "Triumph Galatei" in his villa "Farnesina" and the myth of psychhery and Amur. The artist depicted Galatia focusing on Angelo Polyciano's poem - the court poet Lorenzo magnificently expressed in these verses fully his sharp feeling of the outer picture. Rafael Galatea stands on a large shell, which is injected by dolphins prone. The figure and the pose of Galatea are taken from the ancient monuments. It is almost naked, clothes are fluttered in the wind and allows you to admire the adorable forms of the young girl. In the picture a lot of movement, all the figures are given in restless turns. The feeling of movement should be enhanced by the amours even hovering in the clouds, kissing from all sides in the Galatewoo floating on the waves. But, despite the abundance of movement, the faces of all figures and including Galatei are still expressive. The decorativeness of the picture is even strangely written by the sea. The picture was restored many times, and the sea was just subjected to the most ruthless "processing". This significantly changed the whole character of the picture, although the main one is its patterned decorativeness - of course, it remains.

Villa Farnesina

Villa Farnesina

Villa Farnesina

Villa Farnesina

Triumph Galatei

Amur and three graces

Amur and Jupiter talk about psychray

Venus on a chariot drawn pigeons

Venus, Ceres and Juno

Psyche carries vessel Venus

Psyche serves Venus Vessel

Wedding Celebration of Amur and Psychia

Board of the Gods

Further, Rafael covered with frescoes a vulnerable ceiling of one of the rooms of the Fernese Villa's rooms and a whole gallery of the loggia. The plot for these frescoes Rafael took the scenes from the myth of Amur and psychhery as this myth was developed in Metamorphosis of Ovid, and partly at Apulean and Feocrite. These scenes, there are only ten of them, depict the history of Amur and Psychai, with the participation of Venus and many other Gods of Olympus. Cardons to these frescoes were written in 1518, that is, at the time when Rafael was already engaged in architecture, supervised the work of the Cathedral of St. Peter, archaeological research, antique monuments and the restoration of ancient Rome. Raphael was extremely interested in the works of the art of the classical ancient world and showed his knowledge of an ancient sculpture in the image of the Cycle of Cupid about Amur and Psyche. During these years, Rafael created only cardons, occasionally undermining and correcting the main figures. Frenezin's frescoes are famous for their extremely interesting image of Greco-Roman gods.

Elegant household scenes, symbolic hints and playful details of these frescoes are little remind of the majestic gods of classical Greece. Prsharya, this beautiful of the mortal women, who aroused the jealousy of the beauty of beauty itself, at Raphael - a wonderful healthy girl, experienced by the complex peripetics of a love story: it miles in the arms of the Jewish Boy of Amur, then goes with Mercury on Olympus, with a loved smile of victory and celebrations .

Almost idyllically look the frescoes, which depict Venus, showing Amuru of People, or Cupid, looking for sympathy in three grants and entrusting them with psycho to protect against Venus. The whole series is the large panel of the "feast of the gods", which shows thirty gods reconciled with the invasion in their medium of the death beauty of Psychia. Despite the abundance of figures, the picture produces an amazingly one-piece impression, so they are successfully located. The decorative idea of \u200b\u200bthe artist, depicting noisy Olympic fun, is extremely clear in this panel. Something Pastoral is in the shared seriousness of Jupiter, and in all the graceful funny gods, on which the rain of flowers and angel-like bells with butterfly wings flies. These are not powerful Titans Michellands, not the majestic Olympians of Homer, and the Manerno Pointed Characters "Metamorphosis" Ovid: All is too sensual, sharp, violent - softens and calmed down. In this amazing decorative painting Rafael more than in other paintings, expressed the essence of his century.

Pope Lion X was inexhaustible in his requirements and did not recognize the limits of creative fantasy and just physical fatigue by the artist. Now, at the end of the fresco of Farnesins, Rafael, on behalf of the Pope, was supposed to paint the second tier of lies adjacent to the Vatican Yard. For decorating these Lies, Rafael wrote fifty-two decorative cards and covered the huge space of walls with decorative ornaments and architectural motifs. Rafael created an extraordinary diversity of patterns, patterns and ornaments that make up a charming whole. Everything is provided in consent, he sounds one powerful art chord. Rafael wrote his frescoes on the biblical (the creation of the world, exile from paradise, the phenomenon of God Isaac, etc.) and on the mythological (gods, geniuses, extraordinary beasts) are motivated without refusing to the present life. So, on one of the frescoes, he portrayed artists at work.

The frescoes of Vatican lies are far from equal in their artistic advantages. They believe that some of them were even in cardhouses created by his students. Already ten years after their fulfillment, many were corrupted by the action of bad weather, because they were written in the open gallery, which were glazed only in the XIX century. These frescoes are interesting for us as evidence of the inexhaustible creative genius of Rafael, amazing performance and versatility of his talent. The artist, not discovery deep into the content of biblical legends, created these frescoes that are called the "Bible of Raphael". God freely ferry in the airless space and without effort it is creating everything that he is supposed to: hlybye and the hard, heaven and the moon. It is depicted in the form of a cheerful, healthy bearded old man; The head is covered with a thick hat of gray hair. In the "Eva Creating" there is something genre; God on her deep, but a strong old old man, and the young, with the semi-in-law of Eva is very touching in his innocence.

At the same time, Raphael worked on many pictures, decorating the Vatican lodges, creating his Madonn, drawing portraits, restoring the ancient Rome and writing sonnets, very poetic and lyrical. Rafael showed its delicate knowledge of the ancient Rafael in many works. Particularly interesting in this regard with the painting of the bathroom Cardinal Bibien. It is executed in the lateant style, on a dark red background, plots taken from antique mythology.

Lev X decided to decorate with rich milled carpets free from the frescoes of the part of the Sistine Chapel and instructed Raphael to write cardons for these carpets. It was assumed to cut ten carpet, with the image of various acts of the apostles on them. Curmar curren borders, pounded under the bronze, painted episodes from the life of the dad. For three years, carpets were tangled in factories and, when they were awesome in the Sistine Chapel, made a stunning impression. Indeed, Raphael cards depicting the acts of the apostles are completely unusual for strength and simplicity. As mentioned above, all the work of Raphael Roman period is noted by some whimsality, official beauty and exquisite perfection. Only his portraits and Madonns largely escaped this press; The same can be said about cardhouses. It is about cardhouses, not about carpets, because the latter suffered so much from time to time and accidents, not to mention the impossibility of conveying in the fabric all the subtleties of the artist's plan, which is very difficult to judge Rafael. The fate of cardboard was also not very happy. They were left in the factory in Brussels, where carpets were tangled, and no one took care of their preservation. Some cardboard disappeared; Preserved - only in the XVII century. Randomly discovered by Rubens, who persuaded the English king of Charles I to purchase them.

The most interesting on the topic and its resolution of the carpets "Wonderful catch" and "My Pasi Sheep". As in other carpets, there is an amazing simplicity, realistic interpretation of the plot. We see an ordinary countryside: the landscape creates the background for the whole picture and the depicting elevation, on which settlements, groves, churches are located. The foreground occupy the figures of the apostles. And Christ and his students do not have anything religious in themselves, which is especially clear in the carpet of "wonderful catch", where essentially depicts the ordinary fishing of Italian peasants. Healthy, strong bodies of the apostles are dressed in a short dress, opening almost the whole body and nude muscles and muscles; The faces of the two students pulling the networks express tension, as well as employed hand. The student who managing the boat is passionate about his work; The figure came out in an uncomfortable posture in order to keep the boat in equilibrium. Apostles Paul and Andrei, expressing his faith and gratitude, pleasure and lunizing, are simple to their folk appearance. The realistic interpretation of a religious topic is free, has not been adequate to any traditions. All this shows that Raphael is not looking for the effects of external beautifulness. Christ sits on a stern in a calm pose; It differs from the apostles with clothes and a thinner, spiritualized facial expression. In the foreground, the paintings depict three cranes. Birds produce a slightly strange impression in such close proximity to people. A lot argued about whether Rafael himself drew these birds or then some student painted them. Anyway, it should be said that the birds only strengthen the impression of the extraordinck of the moment, trustingly approaching people, stretching their heads to them.

Of great interest is the cardboard "Pasi Sheep My" at the extraordinary depth and clarity of psychological characteristics. Christ, a beautiful, slim blonde man with a majestic and bright face, stands a bit, separately from the group of the Apostles, and addresses to Peter, providing him with preference. Interesting persons of the apostles: senses of joy and reverence express some of them; Others, then are autonated by a sudden skeptical thought, they are simply annoyed and angry. The last in the group of the Apostle presses a book to the chest, this symbol of knowledge, not faith, and going to leave.

In the painting "Healing of the Chrome Saint Peter and Saint John", in addition to an interesting decorative composition, is completely exceptional interest is the figure of the beggar, located at the right column of the temple. Against the background of columns, richly and magnificently ornamented, woven with garlands of grape leaves with artfully woven in them, the amursors are given ugly and emaciated old age and diseases and cripples. The indescribable expression has a face of cripples observing due to the column "Miracle" of the healing of chrome. Difference and hope, envy and skeptical indifference - a whole gamma of feelings affected this face. He rests on his still strong hands on the staff - the posture of ugly, but very live. Rare vegetation covers his face and head. The plowed face of the beggar expresses the highest degree of surprise, the upper lip is caught. In the XVI century Art could still create such a portrait, devoid of fake idealization, remaining within the framework of quiet truthful realism, but free from unnecessary naturalistic details.

Cardboard "Death Anania" transfers the moment of the biblical legend when Peter said to Analyz, taking money from the land sold: "You're licked a man, and God! "And, having heard these words, the anany fell damned to the ground, and the great fear of all ..." Individuals of the apostles and just people from the crowd are beautiful. The faces of the apostles are simple, rude. They are realistic vitality, these mighty spirit people, complete advantages and moral strength. The extraordinary wealth of portrait characteristics, the feeling of the greatness of characters puts the cards of Rafael among the best creations of the XVI century, which are completing the ideals of the art of revival.

Death Anania

Wonderful catch

Victim in Lease

Healing of the Chrome Saint Peter and Saint John

Punish Elia

Paci Sheep washing

Sermon of St. Paul

Tapestries

Cards of Raphael are called the American marble of the new time, the highest manifestation of the genius of the era. They are put on a par with the "Secret Supper" Leonardo and the "Sikstinskaya Capella" Michellandgelo. Nevertheless, it should be noted that this high review of Rafael carpets is fair, if we talk only about individual images, undoubtedly representing masterpieces of world art. In compositions, even carpets are subordinated to the "classic" harmony, which takes them often warmth and vitality. So, a beautiful curved line of the ellipse is located on the figure around the composite center of the arrays in the sevors of Anania. The folds of the apostles are decorated with the apostles, which are all together there is some kind of theater spectacle. Exemplary correctness of the composition gives the entire picture a rhetorical character. Few carpets avoided the print of a cold classic composition: such a wonderful catch must first be attributed to those.

But in these works, Rafael is already quite an artist of the new time, he left the naiveness of the early Italian artists. Rafael's religious plot, like the best quattherty and especially the great artists of the XVI century, is made something secondary. In his painting, people live with completely earthly sentiments - thoughtful, like the Sicstinskaya Madonna, or joyful, as psychhery, inspired by the thought, as the philosophers of the Athenian school, or angry as the apostles in the "death of Anania". Progress in his art is that as a typical representative of the Italian high revival of the XVI century. In particular (with its special clarity of the classic taste) - it cultivates strict beginning. True, under the influence of Roman humanism, clarity and discipline deprive the paintings of life warmth.

Rome Raphael reached a huge height in the field of portrait art. During his stay in Florence, the artist wrote several portraits. But they were still student work, they wore traces of many influences. In Rome, Rafael created more fifteen portraits. Obviously, the portrait of Pope Julia II was written first. It is not known whether the original is preserved in the Pitti Gallery and Utitzi, because in the same one and another gallery there are the same specimens of portraits attributed to Raphael. In any case, the portraits of these very realistically depict the pale, painful view of the old man in a red hat and in a short red cape; The old man sits in a chair, putting the hands covered with rings on the handle of the armchair. Pope's hands are expressive - not elderly weak and dry, and full of life and energy.

Portrait of Lev X with Cardinals Juliano Medici and Luigi Rossi

Portrait of Francesco Maria della Rovere (portrait of a young man with an apple)

Portrait of Elizabeth Gonzaga

Pregnant woman

Lady with unicorn

Portrait of Muddalen Donon.

Portrait of a young woman

Portrait of Cardinal

He created his first picturesque Madonna at the age of 17, and his most famous picture was also an image of the Mother of God with a baby, the Great "Sicstinskaya Madonna", is stored in the Dresden Gallery.

Discipleship

About such as Rafael Santi, they say: he lived a short, but very bright life. Yes, go to 37 - it means to deprive the world of many more and many of their masterpieces. For example, Michelangelo continued to do before death in deep old age. In the sad eyes of Rafael on a concentrated "self-portrait", as if a tragic-rapid end of his earthly existence guessed.

Rafael's parents were also not long-lived. The father died when the boy just turned 11 (but he, an artist, managed to convey the fools of skill to the heir), and the mother of the future of the Renaissance survived her husband for 7 years.

Now nothing kept him in his native urbino. And Rafaello becomes one of the students of Master Perugino in Perugia. There, he meets with one talent of the Umbral School - Pinturikoko, several works artists perform together.

First masterpieces

In 1504th (painter only 21 years old) was born a masterpiece "Three Graces". Santi gradually departs from the imitation to the teacher and acquires its own style. The miniature "Madonna Concreatement" also includes the same period. This is one of two paintings of the master who are stored in Russia (in the "Hermitage" meeting). The second is "Madonna with Bezboro Joseph" (another name - "Holy Family").

He really enriched the "luggage" of a beginner painter to acquaint me with the "pillars" of Renesianas - Michelangelo Buonotti and Leonardo da Vinci. It happened in the then almost the "capital of Italian art" of Florence. The effect of Leonardo is felt in the portrait of "Ladies with a unicorn". Surprisingly seeing a tiny alone animal (Introduction to the cinema brotherly gorgeous horses with a horn in the forehead), Smirno-sitting on his knees from the Blond Device (it was the girls - according to legend, the unicorn became manual only among virgins). The Florentine period is marked by the creation of two dozen Madonn. Probably the theme of maternal love was very close to Rafael - after all, he was too early to lose this good.

The best works of Raphael

One of the most famous works of Rafael Santi was created in Rome, where the painter moved in 1508. The Fresco "Athens School" (it decorates the apostolic Vatican Palace) - a very complex composition (more than 50 heroes are depicted on the canvas). In the center - the wise men Platon and Aristotle, the first proclaims the primaryness of the spiritual (raising his hand up, to the sky), the second is a leader of the earth (it indicates the floor). In the persons of some characters, the features of the author's friends are guessed (Plato-da Vinci, Heraclit-Michelangelo), and he appears in the image of Ptolemy himself.

Among the ten Roman Raphael Madonne is the most touching and known from all existing images of the Mother of God "Sikstinskaya Madonna". "A piece of sky, bridge of clouds - and Madonna descends to us with you. Son pressed to himself so lovingly, he was proteating from enemies ... ". The main figure on the canvas, of course, Maria. Her, carrying an unusually serious child, welcomes the holy barbarian and dad Sikst the second with the "encrypted" in his right hand with the name (look around - on it 6 fingers). At the bottom of the pair of phlegmatic chubby angels admired her mother and child. It is impossible to tear away from her alarming eyes.

Love of life

In appearance main heroine "Sikstinskaya Madonna" you can learn the love of the life of the great Italian Creator - it entered the story under the nickname "Fornarina". The literal translation of the word is "bull". The beauty of Margherita Luth has been valid in the baker's family. As a model and beloved Rafaello, the girl stayed for many years - to the death of the artist.

Its beautiful features can be admired at the "portrait of a young woman" (which is differently called "Fornar"), dated 1519. Already after the death of the teacher (which occurred in a year), one of the most famous Rafaelevsky students Julio Romano proved to the woman on the canvas bracelet with the name of the author. Another famous image of the muse is "Donna Velato" ("Lady under the bedspread"). Seeing 17-year-old Margeryit, Rafael fell in love with her without memory and bought out her father. Many representatives of Bohemia were homosexual (the Renaissance Epoch was generally the unrestrained triumph of the flesh), but Santa turned out to be an exception.

Two versions of death

One of the legends about his death says that the death of the artist's overall in the foreman. The same evil gossip claims: the girl was not true to the beloved. And after his early care, he received a considerable state, still went on his vicious nature and became one of the famous Kurtisanok Rome.

But the admirers of the painting talent hold another version: in the grave of his fever. And the love of the pair of Rafael-Fornarin could envy many. After the death of his unbelled spouse, she accepted the victorious and surrounded the maestro, considering himself his widow.

Talent Rafaello was multifaceted. He showed himself as an architect as a poet. And one of his drawings left the auction "Sotheby's" at the end of 2012 for a record price in 29721250 English pounds.

Rafael (Rafaello Santi) (1483 - 1520) - artist (painter, schedule), the architect of the high rebirth era.

Biography of Rafael Santia

In 1500, he moved to Perugia and enrolled to teach painting to the workshop of Perugino. At the same time, Rafael performed the first independent works: the skills and skills took place from the Father. The most successful of his early works is "Madonna Concatented" (1502-1503), "Knight's sleep", "Saint Georgy" (both 1504)

Feeling yourself with the artist, Rafael left the teacher in 1504 and moved to Florence. Here he hardly worked on the creation of the image of Madonna, which was devoted to at least ten works ("Madonna with a Scheggle", 1506-1507; "Position in the coffin", 1507, and others).

At the end of 1508, Pope Julius II invited Rafael to move to Rome, where the artist held the final period of his short life. At the courtyard of Pope he received the position of "artist of the Apostolic Throne." The main place in his work was now taken by the painting of the Paradinary Region (Stans) of the Vatican Palace.

In Rome Raphael reached perfection as a portraitist and acquired the opportunity to realize his grantee of the architect: from 1514, he led the construction of the Cathedral of St. Peter.

In 1515 he was appointed by the Commissioner in antiquities, which implied the study and protection of antique monuments and control over excavations.

In Rome it was written and the most famous of the works of Rafael - "Sicstinskaya Madonna" (1515-1519). IN last years Life A popular artist was so downloaded by orders that he had to overrun their fulfillment of students, limited to the compilation of sketches and the general control of the work.
He died on April 6, 1520 in Rome.

The tragedy of the ingenious master was the fact that he could not leave behind decent successors.

However, the creativity of Raphael had a huge impact on the development of world painting.

Creativity Rafael Santi

The idea of \u200b\u200bthe brightest and sublime ideals of the Humanism of Renaissance with the greatest completeness embodied, in his work of Rafael Santi (1483-1520). The younger contemporary Leonardo, who lived a short, extremely rich life, Raphael synthesized the achievements of the predecessors and created his ideal of a beautiful, harmoniously developed person surrounded by the magnitude of architecture or landscape.

Seventeen-year-old young men, he reveals real creative maturity, creating a number of images, complete harmony and mental clarity.

Gentle lyrism and fine spirituality are distinguished by one of its early works - "Madonna Concreate" (1502, St. Petersburg, Hermitage), an enlightened image of a young mother depicted against the background of a transparent Umbrian landscape. The ability to freely arrange the figures in space, tie them with each other and with the environment manifests itself in the composition "Mary's engagement" (1504, Milan, Brera Gallery). Spacious in building a landscape, harmony of architecture forms, equilibrium and the integrity of all parts of the composition indicate the formation of Rafael as a high rebirth masters.

With an arrival in Florence, Raphael easily absorbs the most important conquests of artists of the Florentine school with its pronounced plastic start and a wide coverage of reality.

The content of his art remains a lyrical topic of bright maternal love, which he gives special significance. It gets a more mature expression in such works as "Madonna in Green" (1505, Vienna, Art-Historical Museum), "Madonna with Shcheggle" (Florence, Uffizi), "Beautiful Saddle" (1507, Paris, Louvre). Essentially, they all vary the same type of composition made from the figures of Mary, baby Christ and the Baptist, forming against the background of a beautiful rural landscape of pyramidal groups in the spirit of the previously found Leonardo composite techniques. Natural movements, soft plastic forms, smoothness of singers, the beauty of the perfect Madonna type, clarity and cleanliness of landscape backgrounds contribute to the identification of the sublime poetry of the figurative structure of these compositions.

In 1508, Raphael was invited to work in Rome, to the courtyard of Pope Julia II, the human, ambitious and energetic person, who had to multiply the artistic treasures of his capital and attract the most talented cultural figures of the time of the time. At the beginning of the 16th century, Rome inspired hopes for the national association of the country. The ideals of the nationwide order created the soil for creative lifting, for the embodiment of advanced aspirations in art. Here, in close proximity to the heritage of antiquity, the talent of Rafael blooms and takes the talent, acquiring new scope and the features of calm greatness.

Rafael receives an order for painting the front rooms (so-called stans) of the Vatican Palace. This work, which lasted with breaks from 1509 to 1517, put forward Rafael among the largest masters of Italian monumental art, confidently solved the problem of the synthesis of architecture and painting of revival.

The gift of Rafael - Monumentalist and Decorator - manifested itself in all the brilliance during the painting station Della Siedia (Print Rooms).

On the long walls of this room, overlapped with sailing crafts, the compositions "Dispan" and "Athens School", on narrow - "PARNAS" and "Wisdom, moderation and power", personified four areas of human spiritual activities: theology, philosophy, poetry and jurisprudence . The arch divided into four parts is decorated with allegorical figures constituting a single decorative system with paintings of walls. Thus, the entire space of the room turned out to be filled with painting.

Dispute Athens School Adam and Eve

The association in painting images of the Christian religion and pagan mythology testified to the spread of the ideas of the reconcilion of Christian religion with an ancient culture in the environment of the Humanists with ancient culture and the unconditional victory of a secular beginning over church. Even in the "dispute" (dispute of the fathers of the Church of the Communion), dedicated to the depiction of church figures, among the participants of the dispute, you can learn poets and artists of Italy - Dante, Fra Beato Angelico and other painters and writers. On the celebration of humanistic ideas in Renaissance art, the composition of the Athens School, glorifying the mind of a beautiful and strong person, antique science and philosophy says about his connection with antiquity.

The painting is perceived as an incarnation of a dream of a bright future.

From the depth of Antiques of the Grand Arched Spans, there is a group of antique thinkers, in the center of which the stately gray-robed plato and confident, inspirational Aristotle, the gesture of the hand pointing to the Earth, the founders of idealistic and materialistic philosophy. Below, to the left of the stairs, leaned over the book Pythagoras, surrounded by students, to the right - Euclide, and here, at the very edge, Rafael depicted next to the painter sodom himself. This is a young man with a gentle, attractive face. All fresco characters are united by the mood of a high spiritual lift, deep thought. They constitute a non-painted group in their integrity and harmony of the group, where each character exactly occupies its place and where the architecture itself in its strict dimension and majesty contributes to the recreating the atmosphere of a high rise of creative thought.

The fresco "Exile Eliodor" stands out in hard drama in the d'Elodoro station. The suddenness of the miracle - expelling the robber of the temple by the Heavenly Rider - transferred to the rapid diagonal of the main movement, using the light effect. Among the audience, discovering Eliodor, depicted Pope Julius II. This is a hint of modern Raphael events - exile from the papal region of the French troops.

The Roman period of the creativity of Rafael is marked by high achievements and in the field of portrait.

Outly accomplished portrait features acquire full lifests characters "Mass in Bolsene" (frescoes in D'Eeliodoro Stan). To the portrait genre Rafael was also addressed in easel painting, showing its originality here, revealing the most characteristic and significant in the model. They are written portraits of Pope Julia II (1511, Florence, Uffizi), Pope Lion X with Cardinal Louis Dei Rossi and Julio Dei Medici (about 1518, there are also other portrait pictures. An important place in his art continues to occupy the image of Madonna, acquiring the features of greater greatness, monumentality, confidence, strength. Such is the "Madonna Della Seda" ("Madonna in a chair", 1516, Florence, Pitti Gallery) with its harmonious, closed in a circle composition.

At the same time, Rafael created the greatest creation "Sicstinian Madonna" (1515-1519, Dresden, Picture Gallery), intended for the Church of St. Sict in Piacenza. Unlike early, brighter in mood, lyric Madonn, this is a magnificent image full of deep meaning. Excided from above on the sides of the curtain opens easily walking on the clouds of Maria with a baby in her arms. Her look allows you to look into the world of its experiences. She is seriously and sad looking somewhere in the distance, as if anticipating the tragic fate of the Son. To the left of Madonna is depicted Pope Sikst, enthusiastically contemplating a miracle, right - the holy barbarian, a reverently sweating gaze. Downstairs, two angels, looking up and as if returning us to the main image - Madonne and her nobility of a thoughtful infant.

Impeccable harmony and dynamic equilibrium composition, thin rhythm of smooth lineal outlines, naturalness and freedom of movements make up irresistible strength of this whole, excellent image.

Life truth and features of the ideal are combined with the spiritual purity of the complex tragic nature of the Sistine Madonna. Presenting it some researchers were in the devils "ladies in the bedspread" (about 1513, Florence, Pitti Gallery), but Rafael himself in a letter to his friend Castiglion wrote that the principle of selection and generalization of life observations is based on its creative method: "For To write a beauty, I have to see many beauties, but in view of the lack ... In beautiful women, I use some idea that comes to my mind. " So in reality, the artist finds features that correspond to his ideal, towering over random and transient.

Rafael died thirty-seven years old, leaving unfinished paintings of the Farnesian Villa, Vatican loggias and a number of other works completed on cardboard and drawings by his students. Free, elegant, relaxed drawings of Raphael put forward their creator in a number of the largest drawers of the world. His work in the field of architecture and applied art testifies to him as a diversified gifted high rebirth figure, which has gained loud glory from contemporaries. The name of Rafael in the future turned into a none name of the ideal artist.

Numerous Italian students and followers of Raphael were erected into a continued dogma creative teacher's method, which contributed to the spread of imitativeness in Italian art and foreshadowed the brewing crisis of humanism.

• Rafael Santi was born in the family of the court poet and the artist, and he himself was a favorite painter of the power of the property, easily and comfortably feeling in a secular society. Nevertheless, he was low of origin. He remained an orphan from 11 years old, and his guardian of the years was sued with his stepmother for family property.
• "Sicstinian Madonna" the famous painter wrote on the order of "black monks" - Benedictine. He created his masterpiece on a huge canvas, one, without the participation of students or assistants.
• The historian of painting Vazari, and behind him and other Biographers of Raphael say that the daughter of the Bull Margarita Lui, known as Fornarin, is embodied in the features of many "Madonn". Some believe it is an exclusive betrayer, others - a honest beloved, because of which the artist even refused to marry a woman of noble origin. But many art historians believe that all this is a romantic myth of love, and Rafael's true relationship with women is not known to anyone.
• The painting of the artist, called the "Fornarin", depicting a suspician at a semi-nailed form, became the object of passionate discussions of the physicians. The bluish stain on the breast of the model served as a reason for assumptions that the model had cancer.
• The same vazari brings gossip that, being a papal painter, the artist did not really believe in God or in the hell. It is unlikely, although it is quite aware of the statement of one of the dads of that time: "How many profits brought us this fairy tale about Christ!"

Bibliography

• Toynes Christoph. Raphael. Taschen. 2005.
• Makhov A. Rafael. Young guard. 2011. (Life of wonderful people)
• Eliasberg N. E. Rafael. - M.: Art, 1961. - 56, p. - 20,000 copies. (region)
• Stam S. M. Florentine Madonna Rafael: (Ideological content questions). - Saratov: Publishing House of Saratov UN-TA, 1982. - 80 s. - 60,000 copies.

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