The work was completed more than a century later by Giovanni Lorenzo Bernini. The artist's rise to fame and fortune continued under the patronage of the new pope, in fact, the commissions under Leo became ever more demanding.
Raphael was now very successful and had an extensive workshop of about fifty pupils and associates and, due to his vast workload, his assistants increasingly completed works following the artist's designs. This is the only work that Raphael is believed to have had some involvement in the actual execution of the painting. Raphael's upbringing in the court at Umbria had honed his personal skills, he was well mannered and a favourite of the papal regime.
He recommended Raphael for the post of chief architect and, despite the artist's limited experience, Leo X appointed him the architect of St Peter's on April 1st The theme was the acts of St Peter and St Paul. The tapestries were to hang below the early frescoes on the chapel walls. These cartoons, ten in all, were painted by Raphael himself as a mirror image reversed in the weaving process.
The weaving took place in Brussels and in A total of seven tapestries arrived in Rome and were hung in the Sistine Chapel. Raphael's Loggias were grand in their design and conception. The architecture, fresco decoration and stucco reliefs caused a sensation, recreating the decorative splendour of antiquity that was so much admired at the time of The Renaissance.
Raphael never married but is said to have many lovers. Chief among these is Margherita Luti who was his mistress throughout his life in the papal court. He was engaged to Cardinal Medici Bibbiena's niece, Maria Bibbiena, but this seems to have been at the request of the cardinal rather than any real enthusiasm on the part of the artist.
Vasari states that Raphael's death was due to a night of sexual encounters with his mistress Margherita Luti, how Vasari would have knowledge of this encounter is unclear , after which he contracted an acute illness lasting fifteen days. Peter's, who came from just outside Urbino and was distantly related to Raphael.
Unlike Michelangelo, who had been kept hanging around in Rome for several months after his first summons, Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the Vatican Palace. This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace.
Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling. This first of the famous "Stanze" or "Raphael Rooms" to be painted, now always known as the Stanza della Segnatura after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing The School of Athens, The Parnassus and the Disputa.
Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in The death of Julius in did not interrupt the work at all, as he was succeeded by Raphael's last Pope, the Medici Pope Leo X, with whom Raphael also got on very well, and who continued to commission him.
Raphael was clearly influenced by Michelangelo's Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly, and the scaffolding was taken down in from the first completed section.
The reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades, and Raphael, who had already shown his gift for absorbing influences into his own personal style, rose to the challenge perhaps better than any other artist. One of the first and clearest instances was the portrait in The School of Athens of Michelangelo himself, as Heraclitus, which seems to draw clearly from the Sybils and ignudi of the Sistine ceiling.
Other figures in that and later paintings in the room show the same influences, but as still cohesive with a development of Raphael's own style. Michelangelo accused Raphael of plagiarism and years after Raphael's death, complained in a letter that "everything he knew about art he got from me", although other quotations show more generous reactions.
These very large and complex compositions have been regarded ever since as among the supreme works of the grand manner of the High Renaissance, and the "classic art" of the post-antique West. They give a highly idealised depiction of the forms represented, and the compositions, though very carefully conceived in drawings, achieve "sprezzatura", a term invented by his friend Castiglione, who defined it as "a certain nonchalance which conceals all artistry and makes whatever one says or does seem uncontrived and effortless The painting is nearly all of the highest quality in the first two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are not entirely as successful either in conception or their execution by the workshop.
The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor Leo X, the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. For Agostino Chigi the hugely rich banker and Papal Treasurer, he painted the Galatea, and designed further decorative frescoes, for his Villa Farnesina, and painted two chapels in the churches of Santa Maria della Pace and Santa Maria del Popolo.
He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop. One of his most important papal commissions was the Raphael Cartoons now Victoria and Albert Museum , a series of 10 cartoons of which seven survive for tapestries with scenes of the lives of Saint Paul and Saint Peter for the Sistine Chapel.
The cartoons were sent to Brussels to be woven in the workshop of Pier van Aelst. It is possible that Raphael saw the finished series before his death—they were probably completed in He also designed and painted the Loggia at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style grottesche.
He produced a number of significant altarpieces, including The Ecstasy of St. Cecilia and the Sistine Madonna. His last work, on which he was working up to his death, was a large Transfiguration, which together with Il Spasimo shows the direction his art was taking in his final years—more proto-Baroque than Mannerist.
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, often very difficult to assign to a particular hand.
The most important figures were Giulio Romano, a young pupil from Rome only about twenty-one at Raphael's death , and Gianfrancesco Penni, already a Florentine master. They were left many of Raphael's drawings and other possessions, and to some extent continued the workshop after Raphael's death. Penni did not achieve a personal reputation equal to Giulio's, as after Raphael's death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career.
Perino del Vaga, already a master, and Polidoro da Caravaggio, who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right.
Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation by his partner. Most of the artists were later scattered, and some killed, by the violent Sack of Rome in This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond. 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 - a contrast with the stormy pattern of Michelangelo's relationships with both.
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. Giovanni da Udine worked mostly as a stuccoist. The printmakers and architects in Raphael's circle are discussed below. It has been claimed the Flemish Bernard van Orley worked for Raphael for a time, and Luca Penni, brother of Gianfrancesco, may have been a member of the team.
It would become his adopted home for the next 12 years. This was his most important commission to date and established him as the pre-eminent painter in the Court of the Medici.
Although he worked on the frescos for the next five years, he left completion of the commission to his assistants based on his drawings except for some notable exceptions.
It was during this time that Raphael met the banker Agostino Chigi, who became one his most important patrons outside the church. The most famous commission he received from Chigi was for the fresco of Galatea in his Villa Farnesina in Rome, designed by the architect Baldassarre Peruzzi.
Raphael also received his first architectural commission from Agostino Chigi, which was the design of the Chigi Chapel in the church of Santa Maria del Popolo in He also went on to work with Bramante on the architectural design of the church of St Eligio degli Orefici in Rome.
It was these architectural projects which secured him the position of Architectural Commissioner of the new St Peter's Basilica following Bramante's death in The Cardinal was a life-long friend and patron and held a position of considerable power at the Medici Court. Raphael is said to have accepted the engagement under duress, as he was already smitten by a baker's daughter, Margherita Luti, who was his mistress and model. Largely written out of Raphael's biography because of the general interest in his infatuation with Margherita Luti, it is known that Maria Bibbiena died of an unknown illness in before the marriage could take place.
Margherita Luti, immortalized in Raphael's portrait La Fornarina , was the great love of his life. So much so that Vasari notes when Raphael was commissioned to decorate the Villa Farnesina for Agostino Chigi, his heart was not in his work due to his preoccupation with her. Chigi had to arrange for the two lovers to meet in secret throughout the commission. The themes of love and marriage chosen by Raphael for the Villa has led to speculation that the two might have been secretly married.
In , Pope Leo X appointed Raphael commissioner of antiquities in Rome, a role of overseeing the restoration of antiquities. Raphael set about fulfilling this responsibility by drawing up an archaeological map of Rome.
His restoration methods differed from the approach of earlier restorers by his insistence on keeping pieces true to their original form rather than the creative reconstructions favored by other architects of the time. The Pope also commissioned Raphael to design ten tapestries to hang on the walls of the Sistine Chapel. Raphael managed to complete seven cartoons full sized preparatory drawings , which were sent to be woven in the workshop of Flemish weaver Pieter Coecke van Aelst.
We strive for accuracy and fairness. If you see something that doesn't look right, contact us! Subscribe to the Biography newsletter to receive stories about the people who shaped our world and the stories that shaped their lives. Filippo Brunelleschi was one of the leading architects and engineers of the Italian Renaissance and is best known for his work on the Cathedral of Santa Maria del Fiore the Duomo in Florence.
A notorious reputation precedes her, and she is inextricably, and perhaps unfairly, linked to the crimes and debauchery of her family. Sandro Botticelli was an Italian painter of the early Renaissance-era.
Caravaggio, or Michelangelo Merisi, was an Italian painter who is considered one of the fathers of modern painting. Italian sculptor Donatello is one of the most influential artists of the 15th century in Italy, known for his marble sculpture David, among other popular works. A leading figure of Italian High Renaissance classicism, Raphael is best known for his "Madonnas," including the Sistine Madonna, and for his large figure compositions in the Palace of the Vatican in Rome.
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