Sanzio Raphael (Raffello Santi 1483-1520)

Sanzio Raphael – Rafaello Sanzio da Urbino – More widely recognized throughout the world as the Italian High Renaissance painter referred to simply as Raphael: One of the three greatest artists of that era – Along with Leonardo da Vinci and Michelangelo – Leonardo was over thirty years older than Rafael and Michelangelo was eight years his senior. However, unlike many of his contemporaries Sanzio Raphael was extremely productive - Leonardo da Vinci for all his genius was particularly infamous for his many works in progress!

The frescoes adorning the Apostolic Palace in the Vatican City represent Raphael’s greatest works. Originally, Pope Julius II commissioned Raphael (circa 1508) to paint the frescoes onto the walls of four reception rooms in the Papal Apartment Suite: Stanza dell'incendio del Borgo(TheFire in the Borgo Room): Stanza di Eliodoro(The Room Heliodorus): Sala di Costantino(Hall of Constantine): Stanza della Segnatura(Room of the Signatura) – Today these rooms are more commonly referred to as simply Stanze di Raffaello (‘The Raphael Rooms’).

Sanzio Raphael was an influential painter within Rome despite his youth: Although when he died the artistic onus transferred to his contemporary (and rival) Michelangelo whose influence consequently became more widespread. Even so, the serene harmony of Raphael’s artistic model ensured his work was re-established and once again held in the highest regard toward the end of the eighteenth century. Raphael’s career was a Trinity of events - His earliest years were spent in Urbino: Next, Raphael would spend four penetrative years absorbing the traditional arts of Florence: His ultimate twelve years were spent working in Rome for Pope Julius II and Pope Leo X – As well as their closest, most favored associates.

Raphael was an orphan by eleven years of age. His father had been an accomplished painter and it is evident that Raphael played his role with regards to managing his father’s workshop in Urbino after his death – Despite his tender years. The Baronci Altarpiece was Rafael’s first documented commission. The Altarpiece was commissioned by the church of Saint Nicholas of Tolentino in Città di Castello: A town midway between Urbino and Perugia.Rafael was somewhat of a Nomad from 1504-1508 working and studying in the more Northern regions of Italy, in particular Florence. Ultimately, he made his way to Rome in 1508 and this would be where he lived and worked until his death just twelve years later. Virtually upon his immediate arrival Rafael was commissioned to complete the frescoes for Pope Julius II.

Pope Julius planned to use these rooms as his private library. However, only two rooms were completed when he died in 1513: Pope Leo X continued the project. Sanzio Raphael died before the final room was completed: The Sala di Costantino(Hall of Constantine) was in fact finished by Raphael’s assistants after his untimely death in 1520 – Although it was not uncommon for them to do this. Apart from during his early years in Rome much of Raphael’s paintings were actually executed by his assistants using drawings and designs created by him.

The work of Raphael is the adamant of grace and perfection: For this his talent has always been celebrated. Sanzio Raphael was just thirty seven years old when he died in 1520. Yet he produced a comparatively huge body of paintings and drawings in that time, of which many remain today. Of all his works the Scuola di Atene (School of Athens) upon the walls of the Stanza della Segnatura(Room of the Signatura) is probably his best known: Realized as a perfect embodiment of the spirit of the era. The Stanza della Segnatura was the first room to be painted and this was the second fresco produced (circa 1510) – La Disputa del Sacramento (The Disputation of the Holy Sacrament) was the first: The Parnassus (Mount Parnassus the realm of Apollo)

The Stanza della Segnatura made a huge impact upon the art of Rome: As Raphael subsequently did upon the classical arts. The work of Raphael captures human grace in a world that is Euclidian. Idealized, these particular works are very large and complexly detailed: They represent an epiphany of the High Renaissance and the fundamentals of what would become the post-classic arts of the West.

Raffaello Santi - Paving the way for Mannerism and Baroque

Raphael’s fame as the greatest painter of the Western world will continue despite certain detracting voices which made themselves heard at the beginning of the 20th century. He began his apprenticeship with his father, Giovanni, learning basic manual skills, but would have had greater artistic and educational benefits from the circle surrounding the court of Montefeltre. Fundamental to his development was his training under Perugino, whom he later assisted. It was here that Raphael learned the art of composition and gained the knowledge which enabled him to merge landscape and figure sensitively, and so develop the dreamy sensitivity of expression so characteristic of his work, particularly in his Madonna’s.

Hi Move to Florence in 1504 at the age of 21 marked a decisive period in his stylistic development. There a large field of artistic possibilities opened to him, particularly with regard to design and form, which he was capable of assimilating within a few years. Figure and space were at the heart of his learning. Raphael had an extra ordinary power of assimilation without falling in to the trap of eclecticism. In exploring the works of past and present he only adopted such elements which served to perfect his own original artistic personality. Already in 1508 his fame began to spread when Pope Julius called him to Rome for the decoration of apartments at the Vatican. His fellow countryman Donato Bramante, who was engaged in the rebuilding of St Peter’s, may have helped to secure this commission. His first large work in the Stanza Della Segnatura shows his personal conception of design and form with figures combining statuesque dignity with freedom of movement. However with is decoration of the Stanza d’ Eliodro (1512-1514) he achieved further heights in dramatic expression, suggestion of depths, and colour modulation.

Raphael crossed the border between High Renaissance and Mannerism as demonstrated in his large panel paintings of his late period. The large number of commissions for fresco cycles resulted in the organisation of a large workshop.

Of great importance for Raphael’s work was his contact with Antiquity while in Rome (1514 he was appointed prefect of the Roman Antiquities). His significance as an architect can now only be traced in outline. In 1514 he became chief architect of St. Peter’s. In 1515-1516 he built the Plazzo Madama Cafarelli, also in Rome, as well as that of the Pandolfini in Florence (1517-1520). In just two decades of creativity, Raphael’s work made unique, influential history, outgrowing the 15th century, leading the High Renaissance to its peak and finally paving the way for Mannerism, often leaping ahead to the Baroque.

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