RAPHAELPeruginos influence, Michelangelos ambition.Can it be summed up? He managed.Everything is delicately blended with a heavenly tone,It will soothe the irritated mind.Raphaels grand departure – likeA condottiero! Velvet and colorful silk,Expensive harn ❯❯❯
SIXTINE MADONNARaphaels infralcon -The Madonna looks straight at you.You, who are straying from the goal,Are now approaching her.Her eyes penetrate youTo the very depths of your soul.And for your efforts, they promiseA heavenly light from another land.Anot ❯❯❯
ITS TIME TO GATHER THE STONESThe time has come to gatherThe stones scattered long ago.How to collect them? Not with bare hands – But by aligning our thoughts.Crooked thoughts take root,Their roots growing deep into the soul.Passions fertilize them richly – ❯❯❯
NIGHT SHOREWith a fleshy sack,Scarcely will you heed the abysses,But with your soul – yes – I would like to believe in that abyss,Where there is radiant power, and entrust itA lump of soul.How young is she?It has become night to eat – Is sustenance, in ess ❯❯❯
CHRISTS LOVEThe trembling earth,Where the bodies of the defeated and corpses lie.It was as if to prove – it is foolish to believe.The trembling earth.And Christs love is radiant,Beyond human comprehension,All-encompassing, so desired... ❯❯❯
RAFAELHas Raphael seen the Madonna?The spiritual possibility of vision -Could it become an object of study?But that is not the point...Infrared reality, a powerful lightStreams towards us from the eyes of the Madonna.These streams are unconditional.Have yo ❯❯❯
This work by the Urbino master predates such a masterpiece of all time and peoples as the Sistine Madonna in the Dresden Gallery of Old Masters, and largely determines its composition. The painting was commissioned by papal historian and secretary Sigismon ❯❯❯
In my opinion, this is a unique painting within the entire Italian Renaissance. Its unique in its simplicity, naturalness, spirituality, and the real beauty of the woman depicted. You dont have to assume that shes beautiful; its evident. I am generally ind ❯❯❯
This is an incredibly beautiful painting! Its a divine execution by the artists brush that deeply touches the human soul. When you see this masterpiece, you realize how insignificant those are who dared to simply look at it and not be amazed. Its shameful ❯❯❯
A perfect symbol of maternal beauty. It has nothing to do with religion. The composition is also aesthetically superb. The original in Dresden is faded and not as good as the photo online. Sadly, unlike Michelangelo, who sought ultimate perfection in every ❯❯❯
Raphaels works are very uneven in terms of artistic quality. His fame is well-deserved, but largely due to the Sistine Madonna. In his other works, he is a very skilled artist, but no more than that. He is completely incomparable in scale with the unparall ❯❯❯
Its incredible, but in the angelic face of Raphaels Madonna, I recognize the angelic features of my one and only beloved Goddess, Olyushenka, the QUEEN who became my wife in an officers gold uniform (read Revelation Psalm, Psalm 44). I believe that Madonna ❯❯❯
How short is the lifespan of humanity! But theres no reason to lament, for everything we need for complete happiness has been given to us by our Creator. Yet, even the great works have not improved our nature. Forgive us, Raphael de Santos! ❯❯❯
Its strange that reproductions of Raphaels works arent displayed everywhere in institutions and shops. Why doesnt people try to surround themselves with beauty? Is it really so expensive to do so? ❯❯❯
The dispute is about something trivial. Such a remarkable artistic talent, if only it could be applied to timeless themes... Raphael only managed to achieve that level of profundity a mere two or three times (no more) during his career. Its a pity he didnt ❯❯❯
Interesting article about Unione. http://glennis.net/real/raphaels-unione/ Im not very familiar with this topic, but it seems like Raphael developed this technique based on sfumato, combining it with the intensity and brightness of color. ❯❯❯
The Sistine Madonna is one of the most celebrated works of art in the world. This painting is considered one of the most vivid poetic images created by artists of the Renaissance. The painting is like a culmination of the great artist Raphaels work. The hi ❯❯❯
Where did you get the idea that the colors have been changed? Have you seen many authentic works of art yourself? For example, I recently visited the Uffizi Gallery and the Pitti Palace, as well as the Vatican Museums, and the color palette on the website ❯❯❯
The painting depicts an episode described in the New Testament – the engagement of Mary and Joseph. The elderly man in the center of the painting is a priest performing the engagement ceremony; the young men and women on either side of him are rivals of th ❯❯❯
Divine! Both the concept and the execution are exceptional. There seems to be no limit to perfection in the hands of such a Master. The forms of the figures and draperies, set against the beautiful landscape, along with the color palette, are all wonderful ❯❯❯
The sculpting of the figures here is more refined, having reached a higher level and moving beyond the early, apprentice-like style. It has broken free from the constraints and limitations of its teacher, Perugino, influenced by the works of Michelangelo. ❯❯❯
Raphael (like his fellow Florentines Michelangelo and Leonardo, and the Venetian Titian) was far ahead of his contemporary artists in this work with its freedom and boldness of form (in The Beautiful Gardener, there are still Perugian remnants in the depic ❯❯❯
Unprecedented rhythm, plasticity, and sense of space, similar to his contemporaries Leonardo and Michelangelo. And all this is executed in a soft and harmonious manner, like that of his first colleague and rival (although, in general, the latter two were r ❯❯❯
Even in this small work by the young master, one immediately recognizes the hand of the great Raphael – through its broad generalizations of form and their smooth, light harmony, through their precise rendering in space together with the airy perspective, ❯❯❯
Whoever doesnt see the harmony in paintings, no matter how you adjust the color and tonal characteristics, however much you fine-tune them, it wont save you from aesthetic blindness. And here, even the texture is very deep and expressive. What (resolution) ❯❯❯
A masterpiece! A true masterpiece, and I cant find the words to describe it any further. Let me add something more. The guest turned out to be a woman. I had been wondering who it could be all along... ❯❯❯
Two powerful figures – two of the greatest minds in human history, two titans of philosophy, just as Raphael was a titan in painting, and his contemporaries Leonardo and Michelangelo – who is superior to whom, what represents what? Plato or Aristotle, the ❯❯❯
Her soul is trusting and open,She resonates with the destinies of people,And her cup of life is not yet empty,And with each passing year, her appearance becomes even more beautiful! ❯❯❯
Raphael Santi (1483 – 1520) was a prominent painter and architect from Italy. His father was an associate of the Duke of Urbino. Possessing a talent for art and creative abilities, he painted pictures and wrote poetry. The childs acquaintance with the world of painting began in Giovannis workshop. His first significant work is still located in a museum.
His early works were created in the style of the Perugino school, as Raphael came to study with him in 1501.
After moving to Florence, the painter met Michelangelo, Leonardo da Vinci, Bartolomeo della Porta, and other recognized masters, studying their techniques, which helped him define his own style.
In 1508, Santi went to Rome and immediately became an official artist of the Papal Court. His most popular works include Madonna Alba (1510), Madonna with Fish (1512 – 1514), and Madonna in a Chair (c. 1513 – 1514).
Madonna Alba (1510)
Raphael depicted women with incredible beauty and tenderness, which is undeniable. This painting is very unusual: before us is the Virgin Mary with an infant and Christ sitting on her lap, but her limbs are extended, and she seems to be a throne upon which Jesus is seated. The third figure in the painting is John the Baptist. Because Raphael Santis work belongs to the High Renaissance era, there is no strongly expressed religious subtext in the image. The painter reflects natural nature. There are barely noticeable halos above the figures. Raphael expresses divinity through incredible beauty and flowing movements; the figures seem to be dancing. The painting is not static, but the entire canvas literally shines with universal humanism, which is reinforced by the ideal beauty of the figures. Mary holds John with her right hand and a page from the Bible with her left. Christ, sitting on her lap, is slightly turned, and the cross in his hands symbolizes his acceptance of his destiny, his sacrifice.
Madonna with Candlesticks (1513-1514)
In this painting, the viewer sees two angels and the Virgin Mary holding the infant Jesus. She gently holds her son, placing her hand on his chest, and looks down, unlike Madonna Alba (1510). But in addition to the differences between these two paintings, there are also similarities: barely noticeable halos are still present above the heads of the figures. The candlesticks on either side resemble structures from Ancient Rome and symbolize Christ and Mary as rulers of heaven. Warm colors and soft themes soften the features of those depicted.
Madonna in a Chair (1513-1514)
Another work by Santi, Madonna in a Chair, is located in the Palatine Gallery. Unlike the standard, the image of the Madonna is oval. Her image differs from the artists previous works, where he depicted her; a distinctive feature of this painting is the smile that is hard not to notice. It seems that the cry of the child made the girl stop working. The head of the Madonna is covered by a light shawl, which emphasizes her domesticity and obedience. But her clothing contradicts this. The bright color scheme of the Madonnas outfit gives her elegance and refinement, demonstrating her natural beauty. Raphael was inspired by the appearance of his beloved, Franorina, and reflected it in almost all his paintings, and Madonna in a Chair is no exception. He sought to depict female attractiveness, weakness, sensitivity, and all those qualities that only a girl can possess. Raphael is considered a master of depicting Madonnas. When the artist began painting images of women in Rome, they were already majestic and powerful.
The website owners decided that everything was already done and no revisions were needed. They are mistaken, but not in the main points, rather in the details. These details are revealed through relevant albums, literature, and other materials. ❯❯❯
Regarding the titles of artworks, theres a clash between correct and incorrect interpretations, and sometimes the final choice of title is made based on a us vs. them mentality, which isnt beneficial for the website. ❯❯❯
In my opinion, this is not a work by Raphael. He wouldnt have distorted the color and form in that way. Its clearly a stylized imitation of his style. Theres no blending here between the profound expressive language of a genius and this piece. Please dont ❯❯❯
The generalizations are almost non-existent, and the forms are superficially developed. The landscape elements and folds of drapery are uniformly decorative, just like the marble fragments. The faces of the infants are unnaturally inflated, Marys ear is sk ❯❯❯
The masters attention to detail, careful selection of elements, and expressive execution are all hallmarks of their work. Although the portrait doesnt appear to be heavily embellished, it looks absolutely magnificent! ❯❯❯
Compared to the portrait by Agnolo Doni, there is a much greater rigidity in the forms, both in the head and the hands. Its as if these portraits were painted by completely different people, despite having the same creation date. Thats the impression I get ❯❯❯
18 years old and look at how well they draw! And where is the second part (you cant really call it a diptych because its a painting with two sides, but they are separated)? ❯❯❯
I believe theres an error in the title of Raphael Santis painting – Altar of Oddi – Presentation in the Temple (predella). This painting more closely resembles the Meeting (of Christ and Mary). In a Presentation in the Temple painting, we should see the 3- ❯❯❯
Around the age of 20, Raphael painted in a style similar to that of his teacher, Pietro Perugino. However, this work is different. The young master moves away from the Perugian style and develops his own, which would soon be admired for centuries. The subj ❯❯❯
There were three of them, and all were divine: Leo, Michele, and Raphael. We, artists of classicism and the academic tradition, owe an immeasurable debt of gratitude for these geniuses sent to us from above. It was Raphael who laid the foundations of acade ❯❯❯
Classics are timeless and have always been influential, and they will continue to be so. Their values endure. However, at its core, what makes them truly special is their humanist element. ❯❯❯
Tempora mutantur, et nos mutamur in illis, – times change, and we change with them. But only she remains constant and unchanging. Seeing her, Dostoevsky uttered his famous phrase: Beauty will save the world. ❯❯❯
Everyone who has ever painted prophets in art never actually saw them. Raphael was generously paid for the commission, and he did his best to fulfill it. ❯❯❯
All the gods gathered – those of the air, the sea, and the underworld. They assembled and pondered: temples are being destroyed, sacrifices are not offered, soon they will all be called demons. How can they continue to exist? ❯❯❯
![Madonna del Passeggio [and Giovanni Francesco Penni], Raphael](http://j5.galerix.ru/_EX/1593896443/1415.webp)
COMMENTS: 112 Ответы
This is wonderful. Thank you! I know: Transformation, his last work, was finished by his students...
The album has been completely updated.
Wonderful album! Thank you to the compilers!
Raphael Santi (1483 – 1520) was a prominent painter and architect from Italy. His father was an associate of the Duke of Urbino. Possessing a talent for art and creative abilities, he painted pictures and wrote poetry. The childs acquaintance with the world of painting began in Giovannis workshop. His first significant work is still located in a museum.
His early works were created in the style of the Perugino school, as Raphael came to study with him in 1501.
After moving to Florence, the painter met Michelangelo, Leonardo da Vinci, Bartolomeo della Porta, and other recognized masters, studying their techniques, which helped him define his own style.
In 1508, Santi went to Rome and immediately became an official artist of the Papal Court. His most popular works include Madonna Alba (1510), Madonna with Fish (1512 – 1514), and Madonna in a Chair (c. 1513 – 1514).
Madonna Alba (1510)
Raphael depicted women with incredible beauty and tenderness, which is undeniable. This painting is very unusual: before us is the Virgin Mary with an infant and Christ sitting on her lap, but her limbs are extended, and she seems to be a throne upon which Jesus is seated. The third figure in the painting is John the Baptist. Because Raphael Santis work belongs to the High Renaissance era, there is no strongly expressed religious subtext in the image. The painter reflects natural nature. There are barely noticeable halos above the figures. Raphael expresses divinity through incredible beauty and flowing movements; the figures seem to be dancing. The painting is not static, but the entire canvas literally shines with universal humanism, which is reinforced by the ideal beauty of the figures. Mary holds John with her right hand and a page from the Bible with her left. Christ, sitting on her lap, is slightly turned, and the cross in his hands symbolizes his acceptance of his destiny, his sacrifice.
Madonna with Candlesticks (1513-1514)
In this painting, the viewer sees two angels and the Virgin Mary holding the infant Jesus. She gently holds her son, placing her hand on his chest, and looks down, unlike Madonna Alba (1510). But in addition to the differences between these two paintings, there are also similarities: barely noticeable halos are still present above the heads of the figures. The candlesticks on either side resemble structures from Ancient Rome and symbolize Christ and Mary as rulers of heaven. Warm colors and soft themes soften the features of those depicted.
Madonna in a Chair (1513-1514)
Another work by Santi, Madonna in a Chair, is located in the Palatine Gallery. Unlike the standard, the image of the Madonna is oval. Her image differs from the artists previous works, where he depicted her; a distinctive feature of this painting is the smile that is hard not to notice. It seems that the cry of the child made the girl stop working. The head of the Madonna is covered by a light shawl, which emphasizes her domesticity and obedience. But her clothing contradicts this. The bright color scheme of the Madonnas outfit gives her elegance and refinement, demonstrating her natural beauty. Raphael was inspired by the appearance of his beloved, Franorina, and reflected it in almost all his paintings, and Madonna in a Chair is no exception. He sought to depict female attractiveness, weakness, sensitivity, and all those qualities that only a girl can possess. Raphael is considered a master of depicting Madonnas. When the artist began painting images of women in Rome, they were already majestic and powerful.
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