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16th Century High Italian Renaissance

Raphael, Self-Portrait, 1506Oil on wood, Uffizi Galleria.

Raphael Sanzio

Raffaello Sanzio, Raffaello Sanzi, and Raffaello Santi

Place of Birth - Urbino, Italy

1483 – 1520

Died of a fever aged 37 years old

Served as an apprentice to Andrea del Verrocchio

Supported by The Medici Family and Pope Leo X

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16th Century High Italian Renaissance

Raphael, Canagiani Madonna, 1507. HIGH ITALIAN RENAISSANCE

Raphael Sanzio

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16th Century High Italian Renaissance

Raphael, Canagiani Madonna, 1507. HIGH ITALIAN RENAISSANCE

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NORMAL RAPHAEL

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RaphaelMadonna dell Granduca c. 1505

Oil on wood.

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Raphael Sanzio

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Sistine Madonna, c.1513-1514. Cowper Madonna, c1505.

Raphael Sanzio

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16th Century High Italian Renaissance Raphael Sanzio (from Sistine Madonna)

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16th Century High Italian Renaissance Pope Sixtus from Sistine Madonna

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Madonna della Sedia Alba Madonna

Raphael’s Madonnas

Raphael Sanzio

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16th Century High Italian Renaissance

Raphael, Portrait of Baldassare Castiglione,c. 1514-15

Oil on canvas.

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Raphael Sanzio

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16th Century High Italian Renaissance

RaphaelMarriage of the Virgin,

Florence, Italy, 1504

According to the Golden Legend (a 13th century collection of stories about saints’

lives), Joseph competed against other suitors for Mary’s hand in marriage. The

high priest was to give the Virgin to whichever suitor presented to him a rod

that had miraculously bloomed. Raphael depicted Joseph with his flowering rod and about to place Mary’s wedding ring on her extended hand. Other virgins congregate

at the left, and the unsuccessful suitors stand on the right.

Raphael Sanzio

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16th Century High Italian Renaissance

The ‘Raphael Stanze’Pope Julius II commissioned 25 year old

Raphael in 1508 to paint the frescos in his four room apartment on the top floor.

Three of the rooms were of modest dimensions, while the fourth one was

considerably larger; with the completion of the work, the rooms became known as

"The Raphael Stanze“.

Raphael Sanzio

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16th Century High Italian Renaissance

Raphael, The School of Athens, 1511, Fresco, Stanza della Segnatura.

Raphael Sanzio

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16th Century High Italian Renaissance

Raphael, The School of Athens, 1511, Fresco, Stanza della Segnatura.

Raphael

Da Vinci

Michelangelo

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16th Century High Italian Renaissance

Legend has it that the woman who is facing Raphael (with her back to us) was a love interest of Raphael’s who didn’t feel the same way…

Raphael Sanzio

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16th Century High Italian Renaissance

ARISTOTLE:looks to this

earth [thehere and

now].

PLATO:looks to theheavens [or the IDEAL

realm].

Da Vinci wasthe model.

Raphael Sanzio

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16th Century High Italian Renaissance

The thoughtful Michelangelo sits alone… probably the way he liked it.

Raphael Sanzio

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16th Century High Italian Renaissance

TITIANTitian had a creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with color and movement.

Titian, Penitent Mary Magdalen 1560s, Oil on canvas.

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16th Century High Italian Renaissance

Titian, The Pesaro Altarpiece, 1522-26, canvas, San Maria Gloriosa dei Frari,

Venice.

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16th Century High Italian Renaissance

Titian. Venus of Urbino. 1538. Oil on canvas. Galleria degli Uffizi, Florence.

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Here, Titian has domesticated Venus by moving her to an indoor setting, engaging

her with the viewer, and making her sensuality explicit. Devoid as it is of any

classical or allegorical trappings – Venus displays none of the attributes of the

goddess she is supposed to represent – the painting is unapologetically erotic.

The Venus of Urbino derives its inspiration from Giorgione’s Sleeping Venus, which

Titian himself completed (below) (he painted the landscape after Giorgione’s

death). Its influence spread beyond place and time, captivating such artists as Mark Twain, who thought it too lascivious, and

Manet, who thought it insufficiently so, painting an even more shocking version,

the Olympia.

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Titian. Venus of Urbino. 1538. Oil on canvas. Galleria degli Uffizi, Florence.HIGH ITALIAN RENAISSANCE

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Although she is shown as a young woman, Isabella was 62 by the time the

work was painted. Titian had originally painted a more aged Isabella, but she

was so displeased with the picture that she made him repaint it in an idealized

form, so that she looked forty years younger.

Her face and hands were given the most attention, while her garment fades into the

background.

Titian, Portrait of Isabella d'Este,1534-1536

Portrait of Isabella d'Este

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16th Century High Italian Renaissance

Titian. Bacchus and Ariadne. 1520-1522. Oil on canvas.The National Gallery. HIGH ITALIAN RENAISSANCE

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Giorgione, The Pastoral Concert, 1509. HIGH ITALIAN RENAISSANCE

Also attributed to Titian

Combines the Greek idealism with a pastoral (or “shepherd”) setting

Not intended to convey a plot, but rather an idyllic, romantic setting

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16th Century High Italian Renaissance

Pope Julius II▪ Laid the foundation for the new St. Peter’s in Rome (designed originally by Bramante)

▪ Commissioned Michelangelo to create a painted ceiling for the Sistine Chapel

▪ Commissioned Raphael to paint the four hemicycles in the Stanza della Signatura (the Pope’s apartment)

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16th Century High Italian Renaissance Michelangelo’s Tomb of Pope Julius II