School powerpoint presentations. Raphael presentation for the lesson on MHK (Grade 10) on the topic Raphael Sistine Madonna presentation

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Rafael (Raffaello) Santi (Sanzio) Urbinsky (1483-1520) - painter and architect, son of the Urbinsky painter Giovanni Santi. First artistic impressions - Urbino with a palace built by Luciano Laurana and decorated with works by Piero della Francesca and other painters and sculptors. Since 1499 - in Perugia in the workshop of Perugino. In 1504 - the first trip, in 1505 (or in 1506) - the second trip to Florence. At home in 1507 Since 1508, Raphael in Rome, where in the same year work began for the pope in the Vatican and in 1511 - at the Villa Farnesina for Agostino Chigi. In 1514, after the death of Bramante, Raphael was appointed chief architect of the construction of the Cathedral of St. Peter, in 1515 the Commissioner of Antiquities (in charge of the protection of the monuments of antiquity), in the same year accompanied Pope Leo X to Florence (possibly, he was in Bologna). Raphael died in Rome on April 6, 1520. During the last five years of his life, assistant students took an increasing part in the execution of numerous orders.

BIOGRAPHY

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Raphael was born in the eminent Italian city of Urbino at three o'clock in the morning on Good Friday in 1483 from a certain Giovanni dei Santi, a painter not too outstanding, but a gifted person and able to guide children along the right path. When the boy grew up, his father began to exercise him in painting, discovering in him a great inclination for this art and a wonderful talent. Not many years had passed, when Rafael, while still quite a youth, turned out to be an excellent assistant in many of the works that Giovanni performed for the Urbinsky state. Finally, when this exemplary and loving father was convinced that his son, while remaining accepting, could do little from to get him, he decided to place him with Pietro Perugino, who, as he was told, held the first place among painters at that time. In 1500 he entered the studio of Perugino to study.

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Soon, Rafael studied the manner of Perugino in such a way that he imitated it so precisely and decisively in everything that his copies could not be distinguished from the originals of his teacher, and it was impossible to establish any difference between his things and Pietro's things. This is clearly evidenced in the same church of San Francesco in Perugia by the figures painted by him in oil on wood for Madame Magdalene degli Oddi, namely the Ascended Mother of God and Jesus Christ crowning her, below, around the tomb, the twelve apostles, contemplating a heavenly vision, and in small figured predella, located under the image, in divided into three scenes - the Mother of God, receiving the good news from the angel, the Magi worshiping Christ, and he is in the temple in the hands of Simeon. This thing is truly done with the utmost skill, and anyone unaccustomed to this manner would be firmly convinced that the picture was written by Pietro's hand, while it was undoubtedly written by Raphael's hand. The earliest youthful three works of Santi are also known: "The Archangel Michael, striking Satan", "Three Graces", and "The Knight's Dream". The young knight in this picture, like the youngest artist, has sweet dreams. But even in a dream, one has to make a difficult choice - between a book and a flower, between a difficult and easy life path.

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The painting of the Sermon of St. John the Baptist belongs to the same period. Researchers suggest that this is the only image that has come down to us from the predella (lower wing of the altar) of the Ansidea Madonna in Perugia. The decorative manner of writing and some sketchiness in the construction of the composition remind us that the young Raphael at that time was under the influence of his teacher Pietro Perugino. In 1504, Raphael left the walls of the workshop and went to Florence. The move played a huge role in the creative development of the artist. Of paramount importance for him was familiarity with the method of Leonardo da Vinci. Following Leonardo, he began to work a lot from nature, studying anatomy, the mechanics of movements, complex postures and angles, looking for compact, rhythmically balanced compositional formulas. In the last Florentine works of Raphael (The Entombment, 1507, Borghese Gallery, Rome; St. Catherine of Alexandria, circa 1507-1508, National Gallery, London), there is an interest in the complex formulas of dramatic agitated movement developed by Michelangelo.

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The main theme of the painting of the Florentine period is the Madonna and Child, to which at least 10 works are devoted. Subsequently, Rafael had to return to Urbino, where, after the death of his mother and father Giovanni, all his property was left unattended. And so, while he was in Urbino, he painted for Guidobaldo, the commander of the Florentines, two small but most beautiful paintings in his second manner, which are still in the hands of the most illustrious and most excellent Guidobaldo, Duke of Urbino. For him, he made a small picture depicting Christ praying in the garden, and the three apostles who fell asleep not far from him. This picture is so written out that it is impossible to imagine miniatures better and differently painted.

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After these works, Raphael, having settled his affairs, returned again to Perugia, where he wrote in the church of the Servite brothers on a board located in the chapel of the Ansidei family, St. John the Baptist and St. Nicholas, and in San Severo, a small monastery of the Camaldulian order in the same city, namely in the chapel of Our Lady, he painted a fresco of Christ in the glory of God the Father, surrounded by angels and six seated saints, three on each side: St. Benedict, St. Romuald, St. Lawrence, St. Jerome, St. Maura and St. Placidia. This work, revered at that time as an excellent example of fresco painting, Raphael signed his name in large and very clearly visible letters. Among the best works of Raphael the muralist are also commissioned by the banker and philanthropist Agostino Chigi, the murals of the arches of the Chigi chapel (circa 1513-1514, Santa Maria della. Pace, Rome) and the fresco "Triumph of Galatea" full of pagan cheerfulness (circa 1514-1515, Villa Farnesina, Rome).

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Made in 1515-1516, cardboard tapestries with episodes from the history of the apostles Peter and Paul (Victoria and Albert Museum, London) The first signs of the exhaustion of the classical style of Raphael appear in them - features of cold perfection, passion for a spectacular beginning, spectacular poses, an excess of gesticulation. To an even greater extent, this is characteristic of the fresco-Vatican Stanza del Incendio (1514-1517), made according to the drawings of Raphael by his assistants Giulio Romano and J. F. Penny. Ease, grace, richness of imagination are distinguished by purely decorative paintings made by Raphael's assistants according to his drawings in the hall of Psyche of Villa Farnesina (circa 1515-1516) and in the so-called. Loggias of Raphael of the Vatican Palace (1518-1519). In 1519, according to his drawings by Raphael, the ceiling and walls of the so-called "Vatican Lodges" - a long gallery with arches opening onto the courtyard of St. Damaz, built by Bramante to move from the hall of Constantine to other chambers of the Vatican Palace.

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Meanwhile, the glory of Raphael grew more and more, and likewise the awards he received. And so, in order to leave a memory of himself, he built himself a palace in Rome, in Borgo Nuovo, which was plastered according to the instructions of the architect Bramante. When the rumor about these and many other creations of this noble artist penetrated as far as France, as well as Flanders. Albrecht Dürer, the most amazing German painter and engraver on copper, who produced the most beautiful prints, sent Raphael his things, including the head self-portrait, made by him in gouache on the finest fabric so that it could be viewed equally from both sides, and the glare was without white and transparent, and other light areas of the image were intact with the expectation of a translucent fabric, being only slightly touched up and touched with colored watercolor. This thing seemed amazing to Raphael, and therefore he sent him many sheets with his own drawings, which Al Brecht especially treasured.

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Santi's work can be considered the highest manifestation and fusion of all the best acquisitions of human genius in the field of art, obtained by the joint efforts of many artists throughout the Italian Renaissance. Raphael's latest, dying work was the "Transfiguration of the Lord" (in the Vatican Museum); the great artist managed to complete only the upper part in this picture; the rest was performed in it by his disciples, after his death. He died in Rome on April 6, 1520. The life of Rafael Santi was short, but the time allotted by fate was enough for him to be remembered as one of the great masters of the High Renaissance. His sudden death interrupted the rivalry between the two great masters. Those who took part in the creation and decoration of the Vatican - Raphael and Michelangelo, who was also older than Raphael, but after his death he lived for many more years. His ashes were buried with the honors that such a noble spirit deserved, and there was no artist who would not burst into bitter tears and would not see him on his last journey.

CREATION

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Picturesque works of Raphael: before 1500 - Banner with the Crucifixion and the Madonna (for the Carita brotherhood) in the Pinacoteca in Citta di Castello. 1501-1502: "The Coronation of St. Nicholas of Tolentino" - parts in the Pinakothek of Naples and Brescia; "Resurrection" in the Museum of Sao Paulo (Brazil); "Resurrection" (London, private collection); "St. Sebastian" (Bergamo, Carrara Academy); "Madonna Solli" (Berlin, museum). 1503: "Crucifixion" (London, National Gallery); parts of the predella "Miracle of St. Cyril" (Lisbon, museum) and "Miracle of St. Jerome" (Richmond, Cook collection); "The Coronation of Our Lady" (Vatican, Pinakothek). 1504: "Betrothal of Our Lady" (Milan, Brera); "Madonna Diotisalvi" (Berlin, museum); "Madonna di Terranova" (ibid.); "Madonna Connestabile" (St. Petersburg, Hermitage); "Madonna del Granduca" (Florence, Pitti Gallery) in the same year or a little earlier; portraits of Elisabeth Gonzaga (Florence, Uffizi); young men with apples (ibid.); Emilia Pia (Baltimore, Epstein collection); self-portrait (Munich, Pinakothek); two male portraits in the Roman gallery Borghese and the gallery of the city of Vaduz (Liechtenstein).

CREATIVE WORKS

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"Dream of a Knight" (London, National Gallery); "St. Michael with Lucifer" (Paris, Louvre); "St. George" (ibid.); "Three Graces" (Chantilly, gallery). 1506: Altarpiece (Pala Column) with the Madonna and four saints in the predella "Prayer for the Cup", "Climbing Calvary", "Lamentation" (New York, Metropolitan Museum of Art); Altarpiece (Pala Ansidei) with Madonna, John the Baptist and St. Nicholas (London, National Gallery); predella "Sermon of St. John the Baptist" (London, Landsdowne collection); Madonna Esterhazy (Budapest, Museum of Fine Arts); "Madonna of Orleans" (Chantilly, gallery); "Madonna with a Goldfinch" (Florence, Uffizi); "Madonna in the Meadow" (Vienna, Kunsthistorisches Museum); "Holy Family with beardless Joseph" (St. Petersburg, Hermitage); "St. George" (Washington, National Gallery); "Blessing Christ" (Brescia, Pinacoteca); portraits of Maddalena and Agnolo Doni (Florence, Pitti Gallery), "Portrait of a Pregnant Woman" (ibid.), portrait of a woman (Rome, Borghese Gallery) 1507-1508: "The Entombment" (Rome, Borghese Gallery), predella with allegorical images of Faith, Hope and Love in a tondo (Vatican, Pinakothek); "The Holy Family of Kanidzhani" (Munich, Pinakothek); "The Holy Family with a Lamb" (Madrid, Prado); The Holy Family under a Palm Tree "(London, Bridgewater Gallery); "Madonna of Bridgewater" (London, Ellesmere collection);

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"Madonna Column" (Berlin, museum); "Madonna the Gardener" (Paris, Louvre); Canopied Madonna" (Florence, Pitti Gallery); "Tempi Madonna" (Munich, Pinakothek); "Saint Catherine" (London, National Gallery); "Self-Portrait" (Hampton Court); "Portrait of Guido Baldo da Montefeltro" (Florence, Uffizi). 1510: Aldobrandini Madonna (London, National Gallery); "Madonna Alba" (Washington, National Gallery). 1511-1512: "Madonna of Foligno" (Vatican, Pinacoteca); Portrait of a Cardinal" (Madrid, Prado); "Portrait of Pope Julius II" (Florence, Uffizi). 1513-1514: "Madonna with a Fish" (Madrid, Prado); "Madonna with a Curtained Window" (Florence, Pitti Gallery); " Saint Cecilia" (Bologna, Pinakothek); "Portrait of a Man" (Krakow, museum). 1515-1516: "Sistine Madonna" (Dresden, gallery); "Madonna della Tenda" (Munich, Pinakothek); "Madonna in an armchair" ( Florence, Pitti Gallery); "Christ Carrying the Cross" (Madrid, Prado); portraits: Castiglione (Paris, Louvre), Ingirami (Boston, museum, replica of the Pitti Gallery in Florence); women under a veil (ibid.). Since 1515: work on cardboard for the Vatican tapestries.Works of the last years of his life: "Vision of Ezekiel" (Florence, Pitti Gallery), Leo X with two cardinals "(Florence, Uffizi); "Saint Michael" (Paris, Louvre); "Holy Family" (ibid.); "Holy Family" (Madrid, Prado); "Mary's Visit to Elizabeth" (ibid.); "Transfiguration" (Vatican, Pinakothek).

Simakina Julia

A colorful presentation about the life and work (with the presentation and description of paintings) of the great, world-famous artist,

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The life and work of Rafael SANTI Performer: student of the 8th "A" class SIMAKINA Yulia Head: teacher of the MHC KRAVTSOVA Elena Aleksandrovna Novocherkassk - 2011

Raffaello Santi (1483-1520), Italian painter and architect. Representative of the High Renaissance. With classical clarity and sublime spirituality, he embodied the life-affirming ideals of the Renaissance. Early works ("Madonna Conestabile", ca. 1502-03) are imbued with grace, soft lyricism. He glorified the earthly existence of man, the harmony of spiritual and physical forces in the paintings of the stanzas (rooms) of the Vatican (1509-17), achieving an impeccable sense of proportion, rhythm, proportions, harmony of color, unity of figures and majestic architectural backgrounds. Numerous images of the Mother of God ("Sistine Madonna", c. 1513), artistic ensembles in the murals of the Villa Farnesina (1514-18) and the loggias of the Vatican (1519, with students). The portraits created an ideal image of a Renaissance man (B. Castiglione, 1514-15). He designed the Cathedral of St. Peter, built the Chigi Chapel of the Church of Santa Maria del Popolo (1512-20) in Rome.

RAFAEL (real name Raffaello Santi) (Raffaello Santi) (born March 26 or 28, 1483, Urbino - April 6, 1520, Rome), Italian artist and architect. Son of the painter Giovanni Santi. According to Vasari, he studied with Perugino. First mentioned as an independent master in 1500. In 1504-08 he worked in Florence. At the end of 1508, at the invitation of Pope Julius II, he moved to Rome, where, along with Michelangelo, he took a leading position among the artists who worked at the court of Julius II and his successor Leo X.

Already in the early paintings, written before moving to Florence, the harmonious warehouse of talent inherent in Raphael, his ability to find an impeccable agreement of forms, rhythms, colors, movements, gestures - and in such small-format works, almost miniatures, as "Madonna Conestabile" (c. 1502-03, Hermitage), The Dream of a Knight (c. 1504, National Gallery, London), The Three Graces (Condé Museum, Chantilly), Saint George (c. 1504, National Gallery, Washington) , and in the larger format "Betrothal of Mary" (1504, Brera, Milan). "Madonna of Conestabile". Around 1502-03. Hermitage Museum. "St. George" (circa 1504; pen, traces of black chalk and punctures along the contour). Uffizi Gallery, Florence.

Florentine period (1504-08) Moving played a huge role in the creative development of Raphael. Of paramount importance for him was familiarity with the method of Leonardo da Vinci. Following Leonardo, he began to work a lot from nature, studying anatomy, the mechanics of movements, complex postures and angles, looking for compact, rhythmically balanced compositional formulas. In the last Florentine works of Raphael (The Entombment, 1507, Borghese Gallery, Rome; St. Catherine of Alexandria, c. 1507-08, National Gallery, London), there is an interest in the complex formulas of dramatic agitated movement developed by Michelangelo. Saint Catherine of Alexandria. 1507-1508 years. Tree. London National Gallery.

The main theme of the painting of the Florentine period is the Madonna and Child, which is dedicated to at least 10 works. Among them, three paintings close in compositional solution stand out: “Madonna with a Goldfinch” (c. 1506-07, Uffizi), “Madonna in Greens” (1506, Kunsthistorisches Museum, Vienna), “Beautiful Gardener” (1507, Louvre). Varying the same motif in them, depicting a young mother against the backdrop of an idyllic landscape and little children playing at her feet - Christ and John the Baptist, he unites the figures with a stable, harmoniously balanced rhythm of the Composite Pyramid, beloved by the masters of the Renaissance. "Madonna with a pomegranate" (black chalk). Albertina, Vienna. According to some researchers, there is a connection between this drawing (the time of creation is unknown) and the Conestabile Madonna from the Hermitage - originally the Madonna in this picture was holding a pomegranate in her hand. "Madonna and Child with John the Baptist" ("The Beautiful Gardener"). 1507. Louvre.

Roman period (1509-20) Having moved to Rome, the 26-year-old master receives the position of "artist of the Apostolic See" and the commission to paint the main chambers of the Vatican Palace, from 1514 he directs the construction of the Cathedral of St. Peter, works in the field of church and palace architecture, in 1515 he was appointed Commissioner for Antiquities, responsible for the study and protection of ancient monuments, archaeological excavations. Murals of the Vatican Palace Central to the work of this period is occupied by the murals of the ceremonial chambers of the Vatican Palace. The murals of Stanza della Senyatura (1509-11) are one of the most perfect creations of Raphael. Raphael was entrusted with the painting of four adjacent halls, the so-called stations (rooms). Some of them were named after the frescoes. The first room in which Raphael began his paintings in the Vatican was the so-called signature room - the Stanza della Senyatura, where papal decrees and bulls were sealed. On the walls of this relatively small room, Raphael wrote "Disputation" ("Conversations on the sacraments of the sacrament"), on the contrary - the famous "Athenian School" ("philosophical conversations"), on the third wall was placed the glorification of poetry - "Parnassus", on the fourth - a group of three allegorical figures "Wisdom, Temperance, Strength", personifying justice. On the ceiling, Raphael wrote The Fall, Apollo's Victory over Marsyas, Astronomy, and the Judgment of Solomon. Each of the walls had a semicircle for painting, the horizontal base of which was above the eye level of a standing viewer. Without repeating a single figure and pose, not a single movement, Raphael weaves them together with a flexible, free, natural rhythm that flows from figure to figure, from one group to another.

"Dispute". Stanza della Senyatura. Vatican. Rome. In the "Disputation" Raphael arranged two groups in two arcs - the lower one, depicting the earthly "militant" church, and the upper one, glorifying the "heavenly", "triumphant" church.

Rafael Santi. "Dispute" (fragment).

Raphael "School of Athens". Fresco. Stanza della Senyatura. Vatican. Rome. The "School of Athens" is devoted to philosophy, moreover, as a phenomenon equal to theology. The fresco glorifies Greek philosophy, opposing and at the same time combining its two main directions in the person of Plato and Aristotle. In front of the viewer is a platform and a wide staircase leading to a magnificent, majestic and light building, reminiscent of the buildings of Bramante (there is a legend that Raphael's great countryman helped him with an architectural sketch). In this architectural environment, the artist placed in two plans his movements of a group of philosophers, striking in beauty and richness. At the top of the stairs, in the center - Plato and Aristotle. Plato is depicted as a long-bearded old man, he holds a book in his hand, and points upwards with his right hand. Aristotle stretches out his hand to the earth. Such an interpretation of the central images corresponded at that time to the understanding of their philosophy: Plato judges natural things divinely, while Aristotle judges divine things in an earthly way. On the right, in the image of Euclid, Raphael depicted his great contemporary architect Bramante; next are famous astronomers and mathematicians; at the very edge of the right group, the artist painted himself. On the steps of the stairs, he depicted the founder of the school of clinics Diogenes, in the left group - Socrates, Pythagoras, in the foreground, in a state of deep thought - Heraclitus of Ephesus. According to the assumptions of some researchers, the majestic and beautiful image of Plato was inspired by the extraordinary appearance of Leonardo, and in Heraclitus Raphael captured Michelangelo. Plato and Aristotle, like other ancient sages, were supposed to symbolize the sympathy of the popes of pagan antiquity.

Among the best works of Raphael the muralist are also commissioned by the banker and philanthropist Agostino Chigi, the murals on the vaults of the Chigi chapel (c. 1513-14, Santa Maria della Pace, Rome) and the fresco “The Triumph of Galatea” full of pagan cheerfulness (c. 1514-15 , Villa Farnesina, Rome). Galatea-nymph flees from Polyphemus, defeating the terrible Cyclops.

Roman Madonnas In the Roman period, Raphael turned to the image of the Madonna much less frequently, finding a new, deeper solution to it. In Madonna della Sedia (c. 1513, Pitti, Florence), a young mother dressed as a Roman commoner, little John the Baptist and Christ are bound together by a circular frame (tondo); Madonna seems to be trying to hide her son in her arms - a little Titan with an unchildishly serious look. A new, polyphonically complex interpretation of the image of the Madonna found its most complete expression in one of the most perfect creations of Raphael - the altar "Sistine Madonna" (c. 1513, Art Gallery, Dresden).

Portraits The first portraits date back to the Florentine period (Agnolo Doni, c. 1505, Pitti, Florence; Maddalena Strozzi, c. 1505, ibid; Donna Gravida, c. 1505, ibid.). However, only in Rome did Raphael overcome the dryness and some stiffness of his early portraits. Among the Roman works, the portrait of the humanist Baldassare Castiglione (c. 1514-15, Louvre) and the so-called. “Donna Velata”, possibly a model of the “Sistine Madonna” (c. 1516, Pitti, Florence), with their noble and harmonious structure of images, compositional balance, subtlety and richness of color scheme. Portrait of Count Baldassare Castiglione. 1514-1515 years. Canvas. Louvre, Paris.

The architectural works of Raphael left a noticeable mark in Italian architecture. Among his buildings is the small church of San Eligio degli Orefici (laid down c. 1509) with its austere interior, the Chigi chapel in the Church of Santa Maria del Popolo (laid down c. 1512) whose interior is an example of a unity of architectural design and decor, rare even for the Renaissance developed by Raphael - murals, mosaics, sculptures, and the unfinished Villa Madama.Raphael had a huge impact on the subsequent development of Italian and European painting, becoming, along with the masters of antiquity, the highest example of artistic excellence.

Presentation "Rafael Santi of Urbino" will introduce you to the work of one of the titans of the Italian Renaissance. She continues the theme of the Italian Renaissance.

Rafael Santi of Urbino

Leonardo da Vinci amazes us with intellect. With name Rafael Santi associated with the concept of "harmony". Harmony- this is what distinguishes not only most of the artist's creations, but also the personality of Raphael. Not seeking to compete with other artists, maintaining good relations with others, Raphael studied throughout his, unfortunately, short life, borrowing and rethinking in his own way the interesting ideas of his older comrades. The years of life in Rome became for him years of real triumph. He enjoyed success as a portrait painter, received orders from churches and monasteries for altarpieces. Raphael's health could not withstand such stress. The artist died on his birthday at the age of thirty-seven and was buried with honors in the Roman Pantheon.

Madonna painter

Rafael Santi of Urbino in his short life he managed to create outstanding works of monumental and decorative painting. But, with special warmth and tenderness, he treated the images of the Madonna and Child. In the history of world art, he remained a "painter of the Madonnas." All Madonnas by Raphael are remarkable for their amazing purity, poetry, captivating femininity, embodying the brightest ideals of humanism of the Italian Renaissance. It is this image, full of light and goodness, that we find in the Sistine Madonna. In terms of its impact on the viewer and popularity, this picture can be compared with the "La Gioconda" by Leonardo da Vinci.

"Sistine Madonna"

The dramatic story of the "Sistine Madonna" is interesting. Leaving Dresden in the spring of 1945, the Nazis, not having time to take the treasures of the Dresden Gallery prepared for theft, hid them in damp underground catacombs and prepared their destruction. Soviet soldiers managed to discover and save masterpieces of art. At the Museum of Fine Arts, our restorers revived the Madonna, and she appeared before the admiring Muscovites in all her splendor.

“Not a lot of paintings by old masters

I always wanted to decorate my abode,

So that the visitor marveled at them superstitiously,

Listening to the important judgment of connoisseurs.

In my simple corner, in the midst of slow labors,

One picture I wanted to be forever a spectator,

One: so that on me from the canvas, as from the clouds,

Pure and our divine Savior -

She is with greatness, he is with reason in his eyes -

Looked, meek, in glory and in the rays,

Alone, without angels, under the palm tree of Zion.

Alexander Pushkin

In the presentation "Raphael Santi of Urbino" you can see not only the Madonnas, but also the monumental paintings of the Vatican Stations, as well as some portraits of Raphael, who can be called one of the outstanding portrait painters not only of Italian, but also of world art. I hope that many good quality illustrations will not leave indifferent those who open the presentation in PowerPoint.

I want to recommend a great opportunity to see reproductions of Raphael's works on the site Gallerix.en. All illustrations on this site have been digitally processed and sometimes look better than in the museum.

For art lovers and fans of Raphael's work, I recommend some books, which I used myself in the preparation of this entry:

• Argan J.K. History of Italian Art. - M .: JSC Publishing House "Rainbow", 2000
• Beckett V. History of painting. - M .: Astrel Publishing House LLC: AST Publishing House LLC, 2003
• Great artists. Volume 1. Raphael. - M .: Publishing house "Direct-Media", 2009
• Vipper B.R. Italian Renaissance 13th - 16th century. - M.: Art, 1977
• Samin D.K. One hundred great artists. – M.: Veche, 2004

Paola Volkova talks about one of Raphael's Madonnas. I love this Madonna very much.

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Urbino. Childhood and youth

Raphael lost his parents very early. Mother MardzhiCharla died in 1501, and father Giovanni Santi - in 1504. His father was an artist and poet, so Raphael received his first experience as an artist in his father's workshop. The earliest work is the Madonna and Child fresco, which is still in the house-museum.

Among the first works are "The banner with the image of the Holy Trinity" (circa 1499-1500) and the altarpiece "Coronation of St. Nicholas of Tolentino" (1500-1501) for the church of Sant'Agostino in CittadiCastella.

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Discipleship

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

At this time, he often leaves Perugia for home in Urbino, in Cittadi Castello, together with Pintuquirio visits Siena, performs a number of works on orders from Cittadi Castello and Perugia.

In 1502, the first Raphael Madonna appears - “Madonna Solly”, Madonna Raphael will write all his life.

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The first non-religious paintings are The Knight's Dream and The Three Graces (both around 1504).

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

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

In 1504 he met Baldassar Castiglione in Urbino.

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Florence

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

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The first order in Florence comes from Agnolo Doni for portraits of him and his wife, the latter was written by Raphael under the clear impression of the Mona Lisa. It was for Agnolo Doni that Michelangelo created the Madonna Doni tondo at that time.

Raphael paints the altarpieces "Madonna Enthroned with John the Baptist and Nicholas of Bari" (circa 1505), "The Entombment" (1507) and portraits - "Lady with a Unicorn" (circa 1506-1507).