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What can we learn from the composition of Raphael's 'Garvagh Madonna', and how did he paint this impressive work? Find out with Matthias Wivel, our Curator of 16th-century Italian Paintings. Subscribe to be the first to know about all our new videos: http://bit.ly/1HrNTFd Follow us on social media: Twitter: https://twitter.com/NationalGallery Facebook: https://www.facebook.com/thenationalgallery/ Instagram: https://www.instagram.com/national_gallery/ Help keep the museum accessible for everyone by supporting us here: https://www.nationalgallery.org.uk/support-us The National Gallery houses the national collection of paintings in the Western European tradition from the 13th to the 19th centuries. The museum is free of charge and open 361 days per year, daily between 10.00 am - 6.00 pm and on Fridays between 10.00 am - 9.00 pm. Trafalgar Square, London, WC2N 5DN https://www.nationalgallery.org.uk
Raphael, School of Athens, fresco, 1509-1511 (Stanza della Segnatura, Papal Palace, Vatican) Speakers: Dr. Steven Zucker, Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
Raphael: A collection of 168 paintings (HD) Description: "Raphael, born Raffaello Sanzio, was crowned the "Prince of Painters" by Giorgio Vasari, a sixteenth-century biographer of artists. From his father, Raphael learned painting; in his native Urbino, he experienced intellectual court life. A year after his father's sudden death, Raphael entered the workshop of Urbino's leading painter at age twelve and quickly surpassed his master. By the age of twenty-one, Raphael had moved to Florence, where he embraced the works of Michelangelo and Leonardo da Vinci. In Florence, his many paintings of the Madonna and Child display his characteristic human warmth, serenity, and sublimely perfect figures. Raphael's art epitomized the High Renaissance qualities of harmony and ideal beauty. In four years Raphael's fame led to a summons to Rome from Pope Julius II. As painter to the papal court, his work met with high praise, and he established himself as the most favored artist in Rome. He was commissioned to paint portraits, devotional subjects, and the Pope's private rooms; he also designed tapestries. Raphael was soon placed in charge of all papal projects involving architecture, paintings, decoration, and the preservation of antiquities. His untimely death at the age of thirty-seven, Vasari said, "plunged into grief the entire papal court"; the Pope, who "wept bitterly when he died, had intended making him a Cardinal." " Feel free to subscribe!
His full name was Raphael Sanzio da Urbino, but like Madonna and Prince, everyone just knows him as Raphael. He's one of the most renowned artists of all time, a ninja turtle, and an interesting fellow. Here are five things that you may not have known about Raphael. -- Music: Blue Dot Group, -- Twitter: https://twitter.com/Sartle Instagram: http://instagram.com/sartle.arthistory Facebook: http://www.facebook.com/sartle -- https://www.sartle.com/ -- And don't forget to subscribe for more of the cool, tragic, and always interesting back stories of artwork, artists, and museums.
Masterpieces of Western Art Columbia University Art Humanities Series Masterpieces of Western Art at Columbia University is part of the Art Humanities Series. Masterpieces of Western Art has been a degree requirement for all College students and an integral part of the Core Curriculum since 1947. It is not a historical survey, but an analytical study of a limited number of monuments and artists, and teaches students how to look at, think about, and engage in critical discussion of the visual arts. Video produced by the Media Center for Art History, Columbia University. ©2001 Trustees of Columbia University in the City of New York.
Raffaello Sanzio da Urbino (1483-1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality.
After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.
From 1517 until his death, Raphael lived in the Palazzo Caprini in the Borgo, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the Cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she died in 1520. He is said to have had many affairs, but a permanent fixture in his life in Rome was "La Fornarina", Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio. He was made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur. Vasari claims he had toyed with the ambition of becoming a Cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.
Raphael's premature death on Good Friday which was possibly his 37th birthday, was due to unclear causes, with several possibilities raised by historians.
Whatever the cause, in his acute illness, which lasted fifteen days, Raphael was composed enough to confess his sins, receive the last rites, and to put his affairs in order. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the Pantheon.
His funeral was extremely grand, attended by large crowds. The inscription in his marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori", meaning: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."
Vasari says that Raphael eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single old master painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to assign to a particular hand.
Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants. However though both Penni and Giulio were sufficiently skilled that distinguishing between their hands and that of Raphael himself is still sometimes difficult, there is no doubt that many of Raphael's later wall-paintings, and probably some of his easel paintings, are more notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life.
Other pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter), and the sculptor and architect Lorenzetto.
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