Works by Rafael Santi: list, photos. Raffaello Santi. Raphael - paintings and frescoes Poetic, majestic Leonardo and rebellious, with a dazzling passion for painting Michelangelo! A real titanic battle of the elements. Young Raphael needs to get out of this fire

Italy gave the world a huge number of great artists, architects, and graphic artists. Among them, Rafael Santi shines brightly. Famous modern world The architect and artist left a rich legacy that surprises and delights true art connoisseurs.

Biography

Various sources claim that Raphael was born on March 26 or 28, 1483. According to others, April 6 is the artist’s birthday and death. Who to believe? Decide for yourself. Only the city where Rafael Santi was born is known: Urbino.

Childhood was darkened by the death of Margie Charla, the mother of the future artist. The father, Giovanni Santi, had to leave for his wife in 1894.

The first years of Rafael Santi's life left bright strokes on the boy's consciousness and his preferences. The reason for this impact of the surrounding world was the birth into the family of a court artist who worked under the Duke of Urbino. Here the young artist managed to take his first creative steps. The earliest work of the master of painting is considered to be the fresco “Madonna and Child,” which was kept in the house-museum for many years.

There are few results left from creative research and independent search for a path. Among the first were works by Raphael Santi for the church of Sant'Agostino, located in Città di Castello:

• "Glantern with the image of the Holy Trinity" (circa 1499-1500)
• image for the altar “Coronation of St. Nicholas of Tolentino" (1500-1501)

1501 The young artist decides to continue his studies with Pietro Perugino, who lived and worked in Perugia. The influence of the master made adjustments to the work of Raphael Santi.

This period of Santi is filled with visits to Urbino, Città di Castello, and accompanying the teacher to Siena.

1504 There was an acquaintance with Baldassar Castiglione, which was followed by a move to Florence, where Raphael Santi lived for several years. Having met Michelangelo, Leonardo da Vinci, and other great Italian artists of this period, Santi gets acquainted with the techniques of recognized geniuses, learns, absorbing knowledge and skills like a sponge. Thoughts young artist absorbed in studying, working on new paintings.

Rafael Santi's drawings were not completely absorbing. Architecture became my second passion. The artist learned a lot from his mentors, who happily shared their experience and knowledge. Rafael Santi's achievements surprised them.

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

Eleven months later, Santi decides to change his situation and moves to Rome. With the help of Bramante, the young creator manages to take the place of the official artist of the Pope's palace.

Italian artists did not stop at one type of art. Perhaps it was they who translated into reality the postulate: truly talented people will show off their talents in different areas. Raphael spent a lot of time engaged in poetic research, creating sonnets dedicated to his lovers.

Rafael Santi's biography includes marriage. At 31 famous artist fell in love with the baker's daughter, so he proposed marriage. The girl agreed, becoming a faithful wife until the artist’s death.

According to researchers, Raphael was interested in the architecture of the past. While excavating in Rome, the architect-researcher contracted a special type of Roman fever, which caused his death on April 6, 1520. The disease took away the 37-year-old genius, who during his short existence managed to leave a deep mark in various fields of art. Raphael's tomb was decorated with the epitaph:

"Here lies great Raphael, during his life nature was afraid of being defeated, and after his death she was afraid to die."

Creation

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

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

By his twenty-second birthday, the artist Rafael Santi becomes popular. The young artist is approached to create images of saints, such as “St. Catherine of Alexandria" and others.

Rafael Santi: the most famous paintings

“Sistine Madonna”, combining the unity of the mortal body, the Holy Spirit, birth, atonement of sins.

Raphael Santi - Sistine Madonna

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

“Madonna Conestabile” is an image filled with tenderness, pure spirituality, lyricism, harmony, and love.

« Athens school" - a canvas that unites images famous philosophers, teachers Greek culture. The artist amazed his contemporaries and descendants with his painting.

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

“The Lady with the Unicorn” glorifies the beauty and miracle of the purity of spirit and body.

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

"Beautiful gardener." A charming image of the Madonna taking care of the world, like a good gardener takes care of an orchard.

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

“Madonna in an Armchair”, personifying beauty, purity of soul, and the joy of motherhood.

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

“The Knight’s Dream” is an image that embodies the eternal choice between pleasure and virtue.

"Madonna Alba" owned by for a long time to the Spanish family of the same name and embodies the unity of soul, body and Spirit, knowledge of the future path, and readiness to follow it.

Raphael is an artist who had a monumental influence on the way art developed. Raphael Santi is deservedly considered one of the three great masters of the Italian High Renaissance.

Introduction

The author of incredibly harmonious and serene paintings, he received recognition from his contemporaries thanks to his images of Madonnas and monumental frescoes in the Vatican Palace. The biography of Rafael Santi, as well as his work, is divided into three main periods.

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

Brief biography of Rafael Santi

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

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

Four years spent under the influence of Florentine art helped him achieve an individual style and a unique painting technique. Upon arrival in Rome, Raphael immediately became an artist at the Vatican court and, at the personal request of Pope Julius II, worked on frescoes for the papal study (Stanza della Segnatura). The young master continued painting several other rooms, which today are known as “Raphael’s rooms” (Stanze di Raffaello). After Bramante's death, Raphael was appointed chief architect of the Vatican and continued the construction of St. Peter's Basilica.

Works of Raphael

The compositions created by the artist are famous for their grace, harmony, smooth lines and perfection of forms, which can only be rivaled by the paintings of Leonardo and the works of Michelangelo. It is not for nothing that these great masters make up the “unattainable trinity” of the High Renaissance.

Raphael was extremely dynamic and active person, therefore, despite short life, the artist left behind rich heritage, consisting of works of monumental and easel painting, graphic works and architectural achievements.

During his lifetime, Raphael was a very influential figure in culture and art, his works were considered the standard of artistic excellence, but after Santi's untimely death, attention turned to the work of Michelangelo, and until the 18th century, Raphael's legacy remained in relative oblivion.

The work and biography of Raphael Santi are divided into three periods, the main and most influential of which are the four years the artist spent in Florence (1504-1508) and the rest of the master’s life (Rome 1508-1520).

Florentine period

From 1504 to 1508 Raphael led nomadic image life. He never stayed in Florence for a long time, but despite this, four years of Raphael’s life, and especially his work, are usually called the Florentine period. Much more developed and dynamic, the art of Florence had a profound influence on the young artist.

The transition from the influence of the Perugian school to a more dynamic and individual style is noticeable in one of the first works of the Florentine period - “The Three Graces”. Rafael Santi managed to assimilate new trends while remaining true to his individual style. Monumental painting also changed, as evidenced by the frescoes of 1505. The wall paintings show the influence of Fra Bartolomeo.

However, the influence of da Vinci on the work of Rafael Santi is most clearly visible during this period. Raphael assimilated not only the elements of technique and composition (sfumato, pyramidal construction, contrapposto), which were innovations of Leonardo, but also borrowed some of the ideas of the master already recognized at that time. The beginning of this influence can be traced even in the painting “The Three Graces” - Rafael Santi uses a more dynamic composition in it than in his earlier works.

Roman period

In 1508, Raphael came to Rome and lived there until the end of his days. His friendship with Donato Bramante, the chief architect of the Vatican, ensured that he received a warm welcome at the court of Pope Julius II. Almost immediately after the move, Raphael began large-scale work on frescoes for the Stanza della Segnatura. The compositions decorating the walls of the papal office are still considered an ideal monumental painting. Frescoes, including special place occupied by “The School of Athens” and “The Controversy over Communion”, provided Raphael with well-deserved recognition and an endless stream of orders.

In Rome, Raphael opened the largest workshop of the Renaissance - under the supervision of Santi, more than 50 students and assistants of the artist worked, many of whom later became outstanding painters (Giulio Romano, Andrea Sabbatini), sculptors and architects (Lorenzetto).

The Roman period is also characterized by the architectural research of Raphael Santi. He was briefly one of the most influential architects in Rome. Unfortunately, few of the developed plans were implemented due to his untimely death and subsequent changes in the architecture of the city.

Madonnas by Raphael

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

Florentine Madonnas are paintings created under the influence of Leonardo da Vinci depicting the young Mary and Child. John the Baptist is often depicted next to the Madonna and Jesus. Florentine Madonnas are characterized by calmness and maternal charm, Raphael does not use dark tones and dramatic landscapes, so the main focus of his paintings is the beautiful, modest and loving mothers depicted in them, as well as the perfection of forms and harmony of lines.

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

Stanzas of Raphael

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

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

Raphael received an order to paint two other rooms: Stanza dell'Incendio di Borgo and Stanza d'Eliodoro. The first contains frescoes with compositions describing the history of the papacy, and the second contains the divine patronage of the church.

Rafael Santi: portraits

The portrait genre in Raphael's work does not occupy such a prominent role as religious and even mythological or historical painting. The artist's early portraits were technically behind his other paintings, but the subsequent development of technology and the study of human forms allowed Raphael to create realistic portraits, imbued with the serenity and clarity characteristic of the artist.

The portrait of Pope Julius II painted by him is to this day an example to follow and an object of aspiration for young artists. Harmony and balance technical execution and the emotional load of the paintings create a unique and deep impression that only Rafael Santi could achieve. A photo today is not capable of what the portrait of Pope Julius II achieved in its time - people who saw it for the first time were frightened and cried, Raphael was so perfectly able to convey not only the face, but also the mood and character of the subject of the image.

Another influential portrait by Raphael is the Portrait of Baldassare Castiglione, which was copied by Rubens and Rembrandt in their time.

Architecture

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

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

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

Graphic works

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

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

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

Artistic heritage

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

Raphael left his descendants an artistic and ideological legacy. It is so rich and diverse that it is hard to believe it, looking at how short its life was. Raphael Santi, despite the fact that his work was temporarily covered by a wave of Mannerism and then Baroque, remains one of the most influential artists in the history of world art.

RAFAEL DE VALENTIN

RAFAEL DE VALENTIN (French Raphael de Valentin) is the hero of O. de Balzac’s story “Shagreen Skin” (1831), included in the “Human Comedy” (section “Philosophical Sketches”). R. de V. is an autobiographical figure; In this way, Balzac seemed to suggest his own fate: he shortened his life beyond his strength. literary work and “burned out” just like his hero; however, without any influence of a magical talisman. Among the literary prototypes of R. de V. are Goethe's Faust or C. Meturen's Melmoth the Wanderer - heroes who entered into an agreement with the devil. At the beginning of his life, R. de V. is a poor young ambitious man, of which there are many in “ Human Comedy" R. de V. has a noble origin; he bears the title of marquis, but this does not add money to him. The unsuccessful end of the trial deprives R. de V. of his fortune, and he decides to live “in labor and silence,” hoping to win fame and money with his own labor. He is betting on two literary works, which he expects to complete within three years: a comedy intended for the general public, and a scholarly treatise. The treatise is called "The Theory of the Will"; By entrusting R. de V. with this topic, Balzac once again emphasizes his closeness with the hero; he himself considered the will, spreading in space in the form of invisible and weightless fluids, to be a powerful force, to the influence of which all living beings are subject; he trusted his favorite heroes to think about this subject, for example Louis Lambert, the hero novel of the same name, who also wrote a treatise on the will. Chance meeting with a friend forces R. de V. to change his reclusive lifestyle and try to achieve success differently, revolving in the world and conquering women's hearts. This is how R. de V. meets the rich Countess Theodora - “a woman without a heart.” For the sake of this cold, secular beauty, R. de V. forgets about creativity and science, spends his last money, and in return receives indifferent courtesy, because Theodora loves only herself. In despair, R. De V. wants to commit suicide. Before his death, he accidentally enters an antique dealer's shop, and suicide is postponed: the antique dealer gives R. de V. a magical piece of shagreen leather. Thanks to the skin, all desires are fulfilled, but from each desire the skin shrinks, and the life of its owner is shortened. Balzac was always concerned with the problem of saving vital forces; he himself spent them without counting, but always with constant admiration he recalled, for example, the philosopher Fontenelle, who lived a hundred years because he “saving his vital fluid.” Shagreen skin is the materialization of these ideas that life can be wasted in short term , but you can consume it sparingly. At first, R. de V. does not believe in the power of the talisman, but very soon he becomes convinced that the antiquarian did not lie: his wishes come true, he becomes the owner untold riches - but the skin shrinks. Meanwhile, R. de V. no longer wants to die; he is faced with a choice: to live for his own pleasure, but thereby doom himself to imminent death inner life nature, to be imbued with its passive submission” and “to free oneself from oneself.” Almost all romantic heroes, starting with Rene Chateaubriand, dreamed of living in the lap of nature, among “natural people,” and thus getting rid of the passions that tormented them. The escape of R. de V. is a kind of parody of such romantic escapades. His rural existence has absolutely nothing poetic in it, he leads an animal lifestyle, but still continues to waste away and, returning to Paris, dies in the arms of Polina, unable to resist his last desire, which turned out to be fatal.

Like almost all the heroes of Balzac's Philosophical Etudes, R. de V. is a martyr of thought. His obsession - the desire to gain power over his own destiny (it was not for nothing that he wrote a treatise on will) - was embodied in a piece of skin, and this skin destroyed him, just as the hero of “The Quest for the Absolute” destroyed the dream of finding a single substance common to all substances, and the hero “ unknown masterpiece" - the dream of painting perfectly on a canvas beautiful woman. Meanwhile, Balzac was sure that “our ideas are organized, integral beings that live in the invisible world and influence our destinies”; Thanks to the magical skin, the ideas (desires) of R. de V. become such active, fateful and fatal creatures. It is no coincidence that at the end of his life R. de V. comes to the conclusion that even with the help of a talisman he did not accomplish anything great: the powerful skin fulfilled only what he asked for, but he didn’t have enough to ask for something great mental strength. The shagreen skin revealed only the boundless selfishness of its owner.

Immediately after the release of “Shagreen Skin,” two trends emerged in the interpretation of the image of R. de V., which continued in subsequent years. French writer Philaret Chals, author of the preface to “ Philosophical novels and stories" by Balzac (1831), saw in R. de V., first of all, "the embodiment of civilized egoism" modern society with his weakness of will, lack of faith and vanity, “a symbol of appalling poverty,” “a penniless dandy.” According to Chall, in R. de V. the sense of self-preservation kills all other feelings and ideas, and he dies “in convulsions of egoism.” Another preface to the “Philosophical Etudes” (1834), signed by Felix Daven and indebted to Balzac himself for many thoughts, highlights in the history of R. de V. its philosophical, metaphysical aspect: thought and will are living forces, they have a murderous energy that can destroy person. R. de V. was killed not so much social conditions life or negative character traits, as much as the terrible power of thought. His destiny is the “formula of life”. Subsequently, all researchers who turned to the image of the main character of “Shagreen Skin” followed one of these two interpretations: social or metaphysical.

Lit.: Bakhmutsky V.Ya. “...Our age... our selfishness...”

//Balzac O. de. Shagreen leather. M., 1983. P.5-30; Citron P. Introduction pour “La Peau de chagrin”

//Balzac H. de. La Comedie humaine. P., 1979. T.10. P.5-45.

V.A.Milchina

Literary heroes. - Academician. 2009 .

Great Italian painter born in 1483 in Urbino. His father was also a painter and graphic artist, so the future master began his training in his father’s workshop.

Raphael's parents died when the boy was barely 11 years old. After their death, he went to Perugia to study in the workshop of Pietro Perugino. He spent about 4 years in the master's workshop and during this time he acquired his own style.

Carier start

As it says short biography Rafael Santi, after completing his studies, the artist went to live and work in Florence. Here he met such outstanding masters as Leonardo da Vinci, Michelangelo, Bartolomeo della Porta. He learned from these outstanding masters secrets portrait painting and sculptures.

In 1508, the artist moved to Rome and became the official painter of the papal court. He held this position under both Pope Julius II and Pope Leo X. It was for the latter that Raphael painted the Sistine Chapel, the greatest masterpiece of the Renaissance.

In 1514, Raphael became the chief architect of St. Peter's Basilica. He also did a lot of excavations in Rome, worked on orders for numerous churches, painted portraits (though mostly portraits of friends), and carried out particularly significant private orders.

Retrospective of the artist’s work: the Florentine period

The artist completed his first works in his father’s workshop. Most shining example creativity young artist Banner with the image of the Holy Trinity. This work is still in the house museum in Urbino.

While studying with Pietro Perugino, Raphael began working on the images of his classic Madonnas. His most striking work from 1501 to 1504 is “Madonna Conestabile”.

The Florentine period is the most eventful in Raphael's life. At this time he created his recognized masterpieces, such as: “Lady with a Unicorn”, “ Holy family", "St. Catherine of Alexandria.”

Also during this period he painted a lot of Madonnas. Raphael's Madonna is, first of all, a mother (most likely, the artist was greatly influenced by the early departure of his own mother). The best Madonnas of this period: “Madonna of the Carnation”, “Madonna of Granduca”, “The Beautiful Gardener”.

Retrospective of the artist's work: the Roman period

The Roman period of creativity is the pinnacle of the artist’s career. He departed a little from the classic biblical stories and turned to Antiquity. Recognized world masterpieces are: “School of Athens”, “Parnassus”, “Sistine Madonna” (painting on the wall Sistine Chapel- the pinnacle of Raphael’s mastery), “Madonna Alba”, “Madonna with the Fish”.

Death of an Artist

Raphael died in 1520, presumably from Roman fever, which he “caught” during excavations. Buried in the Pantheon.

Other biography options

• Raphael knew A. Durer. It is known that the latter gave Raphael his self-portrait, but its fate is still unknown to this day.
• Villa Farnesina is a special stage in the artist’s career. We can say that for the first time he turns to ancient mythology and historical painting. This is how the frescoes “The Triumph of Galatea” and “The Wedding of Alexander and Roxana” appear. It is interesting that Raphael also painted from nudes. His best work in this regard is “Fornarina” (it is believed that most women's portraits, made by the artist, were copied from his model and beloved Fornarina, about whose fate little is known).
• Raphael wrote beautiful sonnets, mainly dedicated to the love of women.
• In 2002, one of Raphael's graphic works was sold at Sotheby's for a record amount for this type of work - 30 million pounds sterling.

Rafael Santi is a man with incredible fate, the most secret and beautiful painter of the Renaissance. The rulers of Italy were jealous of talent and intelligence genius painter, representatives of the fairer sex adored him for his cheerful disposition and angelic attractiveness, and for his kindness and generosity, his friends nicknamed the artist the messenger of heaven. However, Contemporaries did not suspect that the magnanimous Raphael until the end of his days feared that his mind would fall into the abyss of madness.

History always has its beginning and continuation. So on April 6, 1483, in the small town of the Kingdom of Italy of Urbino, in the house of the court painter of the Dukes of Urbino and poet Giovanni Santi, the great Rafael Santi.

Giovanni Santi headed the most famous art workshop in Urbino. The tragedy in which he lost his beloved wife and mother occurred at night in his home. While the artist was in Rome, where he was painting a portrait of Pope John II, his brother Niccolo, in a fit of insanity, killed his elderly mother and seriously wounded the pregnant Maggia, the artist’s wife. The guards who arrived at the crime scene arrested the criminal, but he managed to escape. Seized with insane fear, Niccolo threw himself off the bridge into the icy river. The soldiers stood on the shore and tried to fish out the body when Majia Santi had already given birth to a baby and died from her wounds. Giovanni learned about the trouble from traveling traders. Having abandoned everything, he hurried home. But friends and neighbors have already christened the boy Raphael, buried his wife and mother.

The childhood of the great artist was very happy and carefree. Giovanni Santi, having survived a terrible tragedy, invested all his strength in Raphael, protecting him from worries and troubles real world, warned possible mistakes and corrected those already committed. Since childhood, Rafael studied only with the best teachers, his father had high hopes for him, instilling a taste for painting. The first toys Raphael there were paints and brushes from my father's workshop. And already at seven years old, Rafael Santi he expressed his gifted magical fantasies in the workshop of a court painter - in the workshop of his father. Soon Giovanni remarried Bernardina Parte, the daughter of a goldsmith. From his second marriage a daughter, Elisabette, was born.

Every day the boy brought more and more joy. Giovanni watched himself think and act in his fictional world his son, and how these weak and still clumsy hands express everything on canvas. He understood that talent and supernatural abilities Raphael much more worthy than his own, so he sent the boy to study with his friend, the artist Timoteo Viti.

During the training period, a ten-year-old Raphael for the first time he departed from the canons of the classical Italian portrait of the Renaissance and mastered that unique play of colors and paints, which today is a mystery for artists and art critics around the world.

In 1494, the father of the little genius died of a heart attack, and by decision of the city magistrate, the boy remained in the care of the family of the cloth merchant Bartholomew. He was the younger brother of the artist Giovanni and, unlike the crazy Niccolo, he was sociable, had a caring, cheerful and kind disposition, did not remain indifferent and was always ready to help those who needed it. This good-natured merchant adored his orphan nephew and spared no expense on his painting education.

Already at the age of seventeen, he easily created brilliant, talented works that still delight his contemporaries. In November 1500, a seventeen-year-old youth left his small provincial town Urbino and moved to the bustling port city of Perugio. There he entered the workshop of the famous painter Pietro Vannucci, known under the name Perugino. Having watched the first exam papers of his new student, the gray-haired maestro exclaimed: “Today is a joyful day for me, because I have discovered a genius for the world!”

During the Renaissance, Perugino's workshop was creative laboratory, in which brilliant personalities were brought up. Perugino's deep lyricism, his tenderness, calmness and gentleness found an echo in the soul Raphael. Raphael is overbearing. He quickly learns the painting style of his teacher, studies under his guidance the work on frescoes, becomes familiar with the technique and figurative system monumental painting.

For some time, Raphael was still under the powerful influence of Perugino. Only timidly, like a momentary splash, does the unexpected suddenly arise compositional solution, unusual for Perugino. Suddenly the colors on the canvases begin to sound unique. And, despite the fact that his masterpieces of this period are imitative, one cannot stand aside and not realize that he made them immortal master. First of all, it is "", "", "". All this is completed by the created monumental canvas “” in the city of Civita - Castellan.

This is like his last bow to the teacher. Raphael goes into big life.

In 1504, he arrived in Florence, where the center of Italian art was concentrated, where the High Renaissance was born and rose.

The first thing the young man saw Raphael, setting foot on the soil of Florence, there was a majestic statue of the biblical hero David in Piazza della Signoria. This sculpture by Michelangelo could not help but stun Raphael, could not help but leave an imprint on his impressionable imagination.

At this time, the great Leonardo also worked in Florence. Just then, all of Florence watched with bated breath the duel of the titans - Leonardo and Michelangelo. They worked on battle compositions for the Council Hall of the Palace of the Signoria. Leonardo's painting was supposed to depict the battle of the Florentines with the Milanese at Anghiari in 1440. And Michelangelo wrote the battle of the Florentines with the Pisans in 1364.

Already in 1505, Florentines had the opportunity to evaluate both cardboards exhibited together.

Poetic, majestic Leonardo and rebellious, with a dazzling passion for painting Michelangelo! A real titanic battle of the elements. Young Rafael you need to come out of the fire of this battle unscorched, remaining yourself.

In Florence, Raphael masters the entire amount of knowledge that an artist needs to rise to the level of these titans.

He studies anatomy, perspective, mathematics, geometry. His search for the beautiful in Man, his worship of Man emerges more and more clearly, he develops the style of a monumentalist, his skill becomes virtuosic.

In four years, he transformed from a timid provincial painter into a real master, confidently mastering all the school secrets he needed for his work.

In 1508, a twenty-five-year-old Santi arrives at the invitation of Pope Julius II to Rome. He is entrusted with painting in the Vatican. First of all, it was necessary to make frescoes in the Signature Hall, which was allocated by Julius II for a library and office. The paintings were supposed to reflect various aspects of human spiritual activity - in science, philosophy, theology, and art.

Here he is before us not only a painter, but an artist - a philosopher who dared to rise to enormous generalizations.

The Hall of the Signature - Stanza della Segnatura - reunited the ideas of the era about the power of the human mind, the power of poetry, the rule of law, and humanity. The artist brought together philosophical ideas in live scenes.

In historical and allegorical groups Santi revives the images of Plato, Aristotle, Diogenes, Socrates, Euclid, Ptolemy. Monumental works required the master to know the most complex painting techniques - fresco, mathematical calculations and a steel hand. It was truly a titanic work!

In their stanzas (rooms) Rafael managed to find an unprecedented synthesis of painting and architecture. The fact is that the interiors of the Vatican were very complex in design. The artist was faced with almost impossible compositional problems. But Santi emerged victorious from this test.

The stanzas are masterpieces not only in terms of the plastic design of the figures, the characteristics of the images, and the color. In these frescoes, the viewer is amazed by the grandeur of the architectural ensembles created by the painter’s brush, created by his dream of beauty.

In one of the frescoes of the Signature Hall, among the philosophers and educators, as if a participant in this high debate, there is himself Rafael Santi. A thoughtful young man looks at us. Large, beautiful eyes, deep gaze. He saw everything: both joy and sorrow - and better than others he felt the Beauty that he left for people.

Raphael was the most magnificent portrait painter of all times. Images of his contemporaries Pope Julius II, Baltasar Castiglione, portraits of cardinals They depict to us proud, wise and strong-willed people of the Renaissance. The plasticity, color, and sharpness of the characteristics of the images on these canvases are amazing.

In general, during his short thirty-seven-year life, the master created many unsurpassed, unique paintings. But still, the most important thing remains the inspired Madonnas, who are distinguished by their special mysterious beauty. Beauty, Kindness, and Truth are intertwined in them.

Painting " Holy Family. Madonna with Beardless Joseph“or “,” written at the age of twenty-three, represents a kind of creative “exercise” of the artist, who solved the problem of constructing a composition that was perfectly coordinated in all its parts.

Its center is marked by the figure of the Child. Highlighted by a beam of light directed directly at her, she, the brightest spot in the picture, immediately attracts the viewer’s attention. What is truly remarkable is the persistence and determination with which Santi consistently achieves the impression of an internal relationship between the characters and their spatial environment. The baby sits on Mary's lap, but his gaze is turned towards Joseph - usual for Raphael compositional technique, with the help of which it is possible to strengthen the connection with each other of adjacent figures not only visually, but also emotionally. Purely pictorial techniques serve the same purpose. Thus, the smooth parabolic lines outlined in the outlines of the Virgin Mary’s sleeve find an echo both in the outline of the figure of the Child and in the movement of the folds of Joseph’s cloak.

Madonna and Child - one of the leitmotifs in art Raphael: in just four years of his stay in Florence, he painted at least one and a half dozen paintings varying this plot. The Mother of God sometimes sits with the Baby in her arms, sometimes plays with him or simply thinks about something, looking at her son. Sometimes a little John the Baptist is added to them.

Thus, “”, written by him in 1512 - 1513, received the highest recognition. The mother holds the child in her arms and carries him to us, into our world. Holy Sacrament it happened - a man was born. Now life is before him. Gospel story- this is only a pretext for a solution through a complex allegory of an eternal idea. Life for the human being entering it is not only joy, but also quests, falls, ups, and suffering.

A woman carries her son into a cold and scary world full of accomplishments and joy. She is a mother, she anticipates the fate of her son, everything that is in store for him. She sees his future, so in her eyes there is horror, horror of the inevitable, and grief, and fear for her baby.

And yet she does not stop at the earthly threshold, she crosses it.

The Baby's face is most striking. Peering into the eyes of the Baby, unusually bright, brilliant, almost frightening to the viewer, the impression is not only of a menacing, but of something wild and “obsessed” with a meaningful look. This is God, and, like God, he is also privy to the secret of his future, he also knows what awaits him in this world into which the curtain has opened. He clings to his mother, but does not seek protection from her, but as if says goodbye to her, as soon as he enters this world and accepts the full burden of the trials.

The weightless flight of the Madonna. But another moment - and she will step on the ground. She hands people the most precious thing - her son, a new person. Accept him, people, he is ready to accept mortal torment for you. This is the main idea that the artist expressed in painting.

It is this idea that awakens good feelings in the viewer, connects Santi with top names, elevates him as an artist to unattainable heights.

In the middle of the 18th century, the Benedictines sold " Sistine Madonna"to Elector Frederick Augustus II, in 1754 it ended up in the collection of the Dresden National Gallery. " Sistine Madonna"became an object of worship for all mankind. They began to call it the Greatest and Immortal picture of the world.

The image of pure beauty can be seen in the portrait "". "" was painted by the artist during his stay in Florence. The image of a young beautiful girl he created is full of charm and virginal purity. This impression is also associated with the mysterious animal lying peacefully on her lap - a unicorn, a symbol of purity, female purity and chastity.

For a long time " Lady with a unicorn"was attributed either to Perugino or to Titian. It was only in the 1930s that Raphael’s authorship was discovered and confirmed. It turned out that the artist initially depicted a lady with a dog, then a mythical creature - a unicorn - appeared on her lap.

The beautiful stranger depicted Raphael, seems to be a “deity”, a “shrine”. She is in boundless harmony with the world that surrounds her.

This job Raphael like a kind of dialogue between the genius of the Renaissance and Leonardo da Vinci, who has just created his famous “ Mona Lisa”, which managed to make a deep impression on the young artist.

Using the lessons of Leonardo, the Master of Madonnas follows the teacher. He places his model in space on the balcony and against the backdrop of the landscape, dividing the plane into different zones. The portrait of the depicted model conducts a dialogue with the viewer, creating new imagery and revealing its different, not ordinary inner world.

The color scheme in a portrait also plays a huge role. A colorful and bright palette, built on a gradation of light and pure colors, gives the landscape a clear transparency, imperceptibly shrouded in a light, foggy haze. All this further emphasizes the integrity and purity of the landscape against the background of the image of the lady.

Fresco with tempera paints on wood " Transfiguration", which Raphael began writing in 1518 by order of Cardinal Giulio de' Medici for the Cathedral of Narbonne, can be perceived as the artist's artistic commandment.

The canvas is divided into two parts. At the top is the plot of the Transfiguration. The Savior with raised hands, in fluttering righteous clothes, hovers against the background of a haze illuminated by the brilliance of His own radiance. On both sides of Him, also floating in the air, are Moses and Elijah - the elders; the first, as already noted, with tablets in hands. At the top of the mountain, the blinded Apostles lie in different poses: they cover their faces with their hands, unable to bear the light emanating from Christ. On the left on the mountain there are two outside witnesses to the miracle of the Transfiguration, one of them has a rosary. Their presence does not find justification in the gospel story and was apparently dictated by some considerations of the artist unknown to us now.

There is no feeling of miracle and grace of Favorian light in the picture. But there is a feeling of emotional oversaturation of people, which overlaps the miraculous phenomenon itself.

In the lower half of the picture at the foot of the mountain Santi depicted two lively groups of people: on the left - the other nine Apostles, on the right - a crowd of Jews, in which in the foreground one can see a kneeling woman and a Jew supporting a possessed boy, whose strong writhing, clouded eyes and open mouth reveal his heavy spiritual and physical suffering. The crowd begs the Apostles to cure the demoniac. The apostles look at him in amazement, unable to alleviate his fate; some of them point to Christ.

If you look closely at the face of Christ, which Raphael wrote on the eve of his death, and compare it with the “” artist, you can find some similarities.

Rafael Santi - Great artist with a cheerful and kind disposition, he died unexpectedly on a spring evening, at the age of thirty-seven. He left this world full divine beauty after a short illness on April 6, 1520 in his workshop. It seemed that art died along with the Great and Revered Artist. According to Raphael Santi's will, he was buried among the great people of Italy in the Pantheon.