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Raphael the Painter

Gracelle M.
February 07, 2014

Raphael the Painter

Art research conducted in preparation for Italy trip. The purpose of the presentation was to educate about the art done by Raphael, so that we can better appreciate these masterpieces.

Gracelle M.

February 07, 2014
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  1. R A P H A E L .
    G R U P P O N O V E
    ROXANNE H. +
    GRACELLE M.

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  2. He is one of the most celebrated painters of the
    Italian Renaissance. His career started during
    his teens in his hometown, Urbino. His father,
    Giovanni Santi, taught Raphael how to paint at
    a very young age, and he apprenticed with
    painter, Perugino. In 1504, he moved to
    Florence, where he drew inspiration from Da
    Vinci and Michelangelo. The third phase of his
    painter career is defined in Rome, when he was
    commissioned to paint the Stanza della
    Segnatura in the Vatican Palace in 1508.
    R A F F A E L L O
    S A N Z I O
    1 4 8 3 1 5 2 0

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  3. “Raphael’s process of incorporation and
    collaboration produced a style uniquely his
    own. His method was to harmonize, through a
    controlling intelligence and disciplined
    technical skill, the separate individual elements
    carefully gleaned from the various sources at
    his disposal.”
    C O L L A B O R A T I O N
    A N D
    I N C O R P O R A T I O N

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  4. Byzantine art was characterized by
    two dimensional figures, showing
    little emotion but depicted as
    being divine through use of color
    and intricacy in decor.
    The High Renaissance was embodiment of
    the naturalist movement, in which figures
    became represented in a more three
    dimensional perspective, by use of newly
    developed techniques and ideals rooted in
    classical antiquity and humanism.
    B Y Z A N T I N E
    R E N A I S S A N C E
    The Aldobrandini Madonna, 1519
    Madonna Enthroned with Saints and Angels, 1390

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  5. G R A C E
    D U A L I T Y
    G E O M E T R Y

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  6. 1
    5
    1
    9
    L A F O R N A R I N A
    P A L A Z Z O B A R B E R I N I I N R O M E
    Up to this day, it remains a mystery as to who this
    woman actually is. Is she Raphael’s mistress? His
    secret wife? Or someone else’s? There is also no
    record of why this painting was commissioned.
    However, what can be said of this painting is the
    sensuality that is apparent in the way Raphael
    painted her skin, the way she is posing and the
    delicate details.

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  7. When Raphael was composing a figure he
    referred to the visuals of live models, but
    eliminated dissonance and flaws, replacing the
    imperfect with his concept of the proper,
    satisfying form.
    Raphael found it quite difficult to paint the
    image of a beautiful woman. In order to paint
    one he had to first see many, allowing him to be
    able to call from an array of examples to satisfy
    the “certain idea he had in mind” to guide his
    choice.
    C E R T A
    I D E A

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  9. "Her large eyes are very round and tired looking,
    while her nose is overly large. Her beauty is not
    conventional - the face being less beautiful than
    the rest of her figure: it is lacking in the “certa
    idea” because its individualization becomes more
    stressed - part of why some people believe her to
    be more than a mythical lover, but rather as the
    actual person."
    D U A L I T Y

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  10. P Y R A M I D I A L
    C O M P O S I T I O N
    "The pyramidal composition was a stable structure
    used to ground the positioning of portraits to the
    bottom of their frame. Often this pyramid goes off
    to the side a bit in order to break symmetry and
    created a more asymmetrical flow.“

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  11. N
    T H E O L O G Y
    P O E T R Y
    J U S T I C E
    P H I L O S O P H Y
    S T A N Z A D E L L A
    S E G N A T U R A

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  12. SCHOOL of ATHENS, 1511

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  13. P L A T O
    I D E A L I S M
    S P I R I T U A L
    F I R E + E T H E R
    A R I S T O T L E
    R E A L I S M
    T A N G I B L E
    W A T E R + E A R T H

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  14. H E A V E N + T H E D I V I N E
    C E L E S T I A L B A C K G R O U N D
    C L A S S I C A L , G E O M E T R I C A R C H I T E C T U R E
    C H R I S T I A N I T Y
    E A R T H
    H U M A N S
    C I V I L I Z A T I O N
    T H O U G H T + R E A S O N

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  15. Raphael didn’t paint with deeply saturated hues, but rather preferred a more muted effect
    which in turn strengthened the unity of his compositions. He was able to achieve an overall
    balance that avoided disrupting spatial illusions. These seamlessly fused colours created a
    subtle beauty for his work.
    H A R M O N I O U S C O L O U R

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  17. C H R I S T I A N P E R F E C T I O N
    P H I L O S O P H Y
    M A T H + S C I E N C E

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  19. N A T U R A L M O V E M E N T

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  20. R A P H A E L
    M A K E S A
    C A M E O .

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  21. V I L L A F A R N E S I A

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  22. “ S U B T L E T I E S O F P R E S E N T A T I O N W E R E A N
    O B J E C T I V E O F R A P H A E L ’ S S T Y L E ; F O R T H E
    M O S T P A R T H E S O U G H T B A L A N C E R A T H E R
    T H A N D I S S O N A N C E . ”

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  23. “ A L L S T R U G G L E S A N D L A B O U R A R E M A S K E D
    B Y A S E A M L E S S S U R F A C E O F G R A C E A N D
    E A S E , C O N V I N C I N G T H E E Y E O F W H A T M U S T
    B E C A L L E D I N T O D O U B T B Y T H E M I N D : T H A T
    S U C H A N O U T C O M E C A N O C C U R N A T U R A L L Y
    W I T H O U T T H E A I D O F E F F O R T O R
    C A L C U L A T I O N . ”
    S P R E Z Z A T U R A

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  24. G A L A T E A
    T O R S I O N
    Through the whole composition there is a sense
    of pulling in one direction and then pulling in an-
    other. Wind whips her hair and drapery to the left
    so they look as if they’re almost pushing horizon-
    tally. In contrast, her arms are holding her dol-
    phins’ reigns which are pulling to the left. Even
    the sea nymphs surrounding her seem to move
    out, pulling her in different directions, moving in
    opposing directions. The spinal twisting of
    Galatea’s figure is a very typical pose of the high
    renaissance.
    1
    5
    1
    3

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  25. Though there is a lot of movement in this painting, it is still of high renaissance – rooted in
    clarity and order. We can see an underlying pyramidal composition, grounding the work.
    Additionally, the arrows of the three amorini direct the eyes of the viewer to Galatea, as
    well as the two other core groups of figures.
    S T A B I L I T Y A N D B A L A N C E

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  26. Light and shadow are used to accentuate the musculature
    and physicality of the bodies, providing the figures with a
    sense of ability to move through space. The back muscles
    of the sea creatures are reminiscent of Michelangelo.
    Galatea herself shows Raphael’s process of idealized
    beauty – where he blends reality with his own ideals.

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  27. S P R E Z Z A T U R A
    C O L L A B O R A
    T I O N A N D
    I N C O R P O R A
    T I O N
    G E O M E T R I E S
    Work appeared effortless, but his
    composures were actually based on
    calculation
    Was ready to learn from all art he
    viewed, and from all the experts with
    whom he came into contact
    It is through the use of geometry that
    he is able to create balance and
    harmony within his work

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  28. “ F O R I N T R U T H W E H A V E F R O M H I M A R T ,
    C O L O U R I N G , A N D I N V E N T I O N H A R M O N I Z E D
    A N D B R O U G H T T O S U C H A P I T C H O F
    P E R F E C T I O N A S C O U L D S C A R C E L Y B E H O P E D
    F O R ; N O R M A Y A N Y I N T E L L E C T E V E R T H I N K
    T O S U R P A S S H I M . ”
    V A S A R I O N R A P H A E L

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  29. 1
    5
    2
    0
    “ H E R E L I E S
    T H A T F A M O U S R A P H A E L . . . ”
    Unfortunately, Raphael died at the very young
    age of 37 caused by a high fever on April 6th,
    1520 (which was Good Friday and his birthday).
    His illness, which lasted 15 days, let him put his
    affairs in order, in which he requested to be
    buried in the Pantheon. Many gathered at his
    funeral to mourn the loss of a brilliant maker.

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  30. B
    C
    A P A L A C E O F T H E V A T I C A N
    V I L L A F A R N E S I N A
    P A L A Z Z O B A R B E R I N I

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  31. B I B L I O G R A P H Y
    http://www.biography.com/people/raphael-41051
    https://www.youtube.com/watch?v=HZfRXQdTP2o
    https://www.youtube.com/watch?v=0U19N0WFT2Y
    https://www.youtube.com/watch?v=r7JxMIs3RVE
    https://www.youtube.com/watch?v=u-9G0Ndxopg
    http://www.youtube.com/watch?v=uOrG6jfBzEU
    http://www.youtube.com/watch?v=zpLEUF8qS3o
    http://www.youtube.com/watch?v=QEA30X4ysvg
    http://www.seshat.ch/home/gia.htm
    http://smarthistory.khanacademy.org/High-Renaissance.html

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