The Leonardeschi were the large group of artists who worked in the studio of, or under the influence of, Leonardo da Vinci . They were artists of Italian Renaissance painting , although his influence extended to many countries within Europe.
116-553: As a teenager, Leonardo was enrolled as an apprentice in the studio of Andrea del Verrocchio in Florence by his father, Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci, a wealthy notary. In 1472, Leonardo joined the Guild of St Luke and eventually, he qualified as a master by this important guild. Leonardo left the studio of del Verrocchio in late 1477 as an independent artist, working on commissions. Leonardo continued to live in
232-645: A brief period. In 1516 or 1517, Leonardo joined the court of Francis I of France . Coincidentally, a Flemish portrait painter, Joos van Cleve , also was summoned to the French court, where he painted the king, queen, and other courtiers. It is thought that Joos van Cleve had spent some time in Italy as well as France on this trip. Like Quentin Massys, a fellow artist of Antwerp , Joos van Cleve appropriated some themes and techniques of Leonardo da Vinci. Often, Joos van Cleve
348-467: A final composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave only an indentation, but no mark. These can be seen on the wall in The School of Athens , and in
464-719: A fountain in the Medici villa of Careggi and later brought to Florence for a fountain in the Palazzo della Signoria by the Grand Duke Cosimo de' Medici . It was replaced with a copy by Bruno Bearzi and since 1959 has been kept in a room in the Palazzo Vecchio . The marble bust of a lady with a bunch of flowers ( Dama col mazzolino ) in the Bargello at Florence is probably from the later 1470s. The identity of
580-463: A golden ball ( palla ) to be placed on top of the lantern of Brunelleschi 's cupola on the Duomo in Florence . The ball was ingeniously made of sheets of copper soldered together and hammered into shape and then gilded. It was completed by the spring of 1471. (The cross on top was made by other hands). The ball was struck by lightning and fell on 27 January 1601 but was reconstructed in 1602. In
696-661: A good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period" of about 1504–1508, he was possibly never a continuous resident there. He may have needed to visit the city to secure materials in any case. There is a letter of recommendation of Raphael, dated October 1504, from the mother of the next Duke of Urbino to the Gonfaloniere of Florence : "The bearer of this will be found to be Raphael, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father
812-447: A greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first. But if, according to Longinus , the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference. Reynolds was less enthusiastic about Raphael's panel paintings, but
928-433: A high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use metalpoint (literally a sharp pointed piece of silver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk. In his final years he
1044-530: A journal by Paris de Grassis , four cardinals dressed in purple carried his body, the hand of which was kissed by the Pope. The inscription on Raphael's marble sarcophagus, an elegiac distich written by Pietro Bembo , reads: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die." Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century
1160-521: A large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there. Over forty sketches survive for the Disputa in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether. He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by
1276-489: A less literal direction. In 1508, Raphael moved to Rome, where he resided for the rest of his life. He was invited by the new pope, Julius II , perhaps at the suggestion of his architect Donato Bramante , then engaged on St. Peter's Basilica , who came from just outside Urbino and was distantly related to Raphael. Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons, Raphael
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#17327654553041392-541: 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",
1508-608: A letter to Ludovico in 1496 Leonardo claimed that he was having to maintain six people at the time. Along with these original pupils, during his second stay in Milan in 1508 Leonardo had relationships with other Milanese artists, such as Il Sodoma (Giovanni Antonio Bazzi), Giovanni Francesco Rustici , and young Francesco Melzi , whose parents had a manor house at Vaprio , Milan. Such artists as Giampietrino , Bernardino Lanino , Cesare da Sesto , Cesare Magni , Martino Piazza da Lodi , and Bernardino Luini are also regarded as members of
1624-429: A letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The pope intended to continue to re-use ancient masonry in the building of St Peter's, also wanting to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused. According to Marino Sanuto
1740-423: 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. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding
1856-524: A member of his workshop, who painted the angel on the left and the part of the background above. According to Giorgio Vasari , Andrea resolved never to touch the brush again because Leonardo, his pupil, had far surpassed him, but later critics consider this story apocryphal. The Madonna enthroned with John the Baptist and St Donato is in the Pistoia Cathedral . It had been left unfinished and
1972-555: A niche originally intended for one. As Covi says, the problem was resolved "in a most felicitous manner". The work was placed in position in 1483 and "has been acclaimed since the day of its unveiling and almost without exception recognised as a masterpiece." In 1468 Verrocchio made a bronze candlestick (1.57 metres high), now in the Rijksmuseum, Amsterdam , for the Signoria of Florence. Also in 1468 he contracted to make
2088-403: A painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque -like court entertainments. His poem to Federico shows him as keen to demonstrate awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of
2204-553: A part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello , previously the court painter (d. 1475), and Luca Signorelli , who until 1498 was based in nearby Città di Castello . According to Vasari, Raphael's father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed; eight
2320-530: 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
2436-457: A priest, who subsequently engaged in litigation with his stepmother. The boy probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played
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#17327654553042552-593: A private devotional picture. It is an early work which has formerly been attributed to Pollaiuolo and other artists. Covi thinks that it was probably painted with assistance from Ghirlandaio. It is now in London at the National Gallery. The Baptism of Christ , now in the Uffizi Gallery at Florence, was painted in 1474–75. In this work Verrocchio was assisted by Leonardo da Vinci , then a youth and
2668-631: A small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces. An important building, the Palazzo Branconio dell'Aquila for Leo's Papal Chamberlain Giovanni Battista Branconio , was completely destroyed to make way for Bernini 's piazza for St. Peter's, but drawings of the façade and courtyard remain. The façade
2784-681: A substantial part of his estate to the Republic on condition that a statue of himself should be commissioned and set up in the Piazza San Marco . In 1479 the Republic announced that it would accept the legacy, but that (as statues were not permitted in the Piazza) the statue would be placed in the open space in front of the Scuola San Marco. A competition was arranged to enable a sculptor to be selected. Three sculptors competed for
2900-422: 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 ...". According to Michael Levey , "Raphael gives his [figures] a superhuman clarity and grace in a universe of Euclidian certainties". The painting is nearly all of the highest quality in the first two rooms, but the later compositions in
3016-622: A town halfway between Perugia and Urbino. Evangelista da Pian di Meleto , who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as
3132-673: A young Filippino Lippi also visited or worked in Verrocchio's studio. Of the artist's pedagogy the Florentine poet Ugolino Verino wrote: "Whatever painters have that is good they drank from Verrocchio's spring". At the end of his life, Verrocchio opened a new workshop in Venice , where he was working on the statue of Bartolomeo Colleoni , leaving the Florentine workshop in charge of Lorenzo di Credi. He died in Venice in 1488. Despite
3248-547: A young woman that uses the three-quarter length pyramidal composition of the just-completed Mona Lisa , but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal Holy Family , was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost Leda and the Swan , from which he adapted
3364-586: Is believed that Quentin Matsys had known the work of Leonardo da Vinci in the form of prints made and circulated among northern artists. His Madonna and Child with the Lamb , inspired by Leonardo's The Virgin and Child with Saint Anne , and A Grotesque Old Woman (or The Ugly Duchess ), show the influence of Leonardo. This is regarded as evidence that Matsys was greatly influenced by Italian Renaissance artists and that he most likely travelled to Italy, at least for
3480-707: Is called the Leonardo of the North . Paintings by the Italian Renaissance artists Giampietrino ( Madonna of the Cherries ) and Marco d'Oggiono ( The Holy Infants Embracing ), both assistants in the workshop of Leonardo da Vinci, were a major influence on the Antwerp master. Joos van Cleve produced numerous versions of his own paintings after these models, adapting them to his own style and so creating some of
3596-707: Is in contrast to Donatello's statue at Padua of the condottiere known as Gattamelata with its "air of calm command" and all Verrocchio's effort "has been devoted to the rendering of movement and of a sense of strain and energy". Raphael Raffaello Sanzio da Urbino ( Italian: [raffaˈɛllo ˈsantsjo da urˈbiːno] ; March 28 or April 6, 1483 – April 6, 1520), now generally known in English as Raphael ( UK : / ˈ r æ f eɪ . ə l / RAF -ay-əl , US : / ˈ r æ f i . ə l , ˈ r eɪ f i -, ˌ r ɑː f aɪ ˈ ɛ l / RAF -ee-əl, RAY -fee-, RAH -fy- EL ),
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3712-484: Is now at the Bargello in Florence. Verrocchio's David is a young lad, modestly clad, contrasting with Donatello 's provocative David . For this figure, the Master is purported to have used the young Leonardo, a newcomer to his workshop, as his model. At a date unknown (suggestions range from 1465 to 1480: Pope-Hennessy said about 1470) he finished in bronze a Putto (winged boy) with Dolphin, originally intended for
3828-579: Is possible that Raphael saw the finished series before his death—they were probably completed in 1520. He also designed and painted the Loggie 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
3944-574: Is preserved at the Library in Munich with handwritten margin notes by Raphael. In about 1510, Raphael was asked by Bramante to judge contemporary copies of Laocoön and His Sons . In 1515, he was given powers as Prefect over all antiquities unearthed within, or a mile outside the city. Anyone excavating antiquities was required to inform Raphael within three days, and stonemasons were not allowed to destroy inscriptions without permission. Raphael wrote
4060-470: Is shown to superb advantage in its present setting" and that, as sculpture, "it far surpasses anything the century had yet aspired to or thought possible". He points out that both man and horse are equally fine and together are inseparable parts of the sculpture. Verrocchio is unlikely to have ever seen Colleoni and the statue is not a portrait of the man but of the idea of a strong and ruthless military commander "bursting with titanic power and energy". This
4176-563: 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 1520. The death of Julius in 1513 did not interrupt
4292-651: The Oddi Altarpiece . He very probably also visited Florence in this period. These are large works, some in fresco , where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael , and he began to paint Madonnas and portraits. In 1502 he went to Siena at
4408-469: The Borgo , in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Bibbiena's niece; he seems to have been talked into this by his friend the cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she died in 1520. He is said to have had many affairs, but a permanent fixture in his life in Rome
4524-436: The contrapposto pose of his own Saint Catherine of Alexandria . He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings. Leonardo was more than thirty years older than Raphael, but Michelangelo, who
4640-612: The 19th century. In contrast, in England the Pre-Raphaelite Brotherhood explicitly reacted against his influence (and that of his admirers such as Joshua Reynolds ), seeking to return to styles that pre-dated what they saw as his baneful influence. According to a critic whose ideas greatly influenced them, John Ruskin : The doom of the arts of Europe went forth from that chamber [the Stanza della Segnatura], and it
4756-644: The Baptist in his composition of Madonna with the Siskin in 1506, which was not familiar to Venetian art at the time). Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael , Giovanni Bellini , and—mainly through Lorenzo di Credi—Leonardo da Vinci. It
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4872-544: The Flemish Bernard van Orley worked for Raphael for a time, and Luca Penni , brother of Gianfrancesco and later a member of the First School of Fontainebleau , may have been a member of the team. Raphael was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out
4988-637: The German artist Albrecht Dürer traveled to Venice . In Bologna Dürer was taught the principles of linear perspective (possibly by Luca Pacioli or Donato Bramante ), and evidently he became familiar with Leonardo's geometrical construction of shadows technique. Several Dürer engravings show a clear interest in the works of Leonardo; for example The Small Horse is based upon the Sforza Horse by Leonardo. During his second stay in Venice Dürer
5104-609: The Old Sacristy. In 1467 the Tribunale della Mercanzia, the judicial organ of the Guilds in Florence, commissioned from Verrocchio a bronze group portraying Christ and St. Thomas for the central niche of the east facade of Orsanmichele , which the Tribunale had recently purchased, to replace a statue of St. Louis of Toulouse , which had been removed. He therefore had the problem of placing two statues (more than life size) in
5220-414: The Stanze, especially those involving dramatic action, are not entirely as successful either in conception or their execution by the workshop. After Bramante's death in 1514, Raphael was named architect of the new St Peter's . Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made
5336-467: The Virgin and Child with two angels in tempera on panel, which had not previously been attributed to Verrocchio, was cleaned and restored about 2010 and is now attributed to him with a date of about 1467–1469. A small painting on panel of Tobias setting out on his journey with the Archangel Raphael , carrying the fish with which he was to heal his father's blindness, was probably painted as
5452-542: The Younger 's diary, in 1519 Raphael offered to transport an obelisk from the Mausoleum of August to St. Peter's Square for 90,000 ducats. According to Marcantonio Michiel , Raphael's "youthful death saddened men of letters because he was not able to furnish the description and the painting of ancient Rome that he was making, which was very beautiful". Raphael intended to make an archaeological map of ancient Rome but this
5568-428: The Younger . Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which Palladio made a measured drawing. Only some floor-plans remain for a large palace planned for himself on the new via Giulia in the rione of Regola , for which he was accumulating the land in his last years. It
5684-561: The artistic traditions of Florence , followed by his last hectic and triumphant twelve years in Rome, working for two popes and their close associates. Many of his works are found in the Vatican Palace , where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura . After his early years in Rome, much of his work
5800-429: The bronze very successfully and the statue is universally admired, but Pope-Hennessy suggests that, if Verrocchio had been able to do this himself, he would have finished the head and other parts more smoothly and made it even better than it is. Although it was not placed where Colleoni had intended, Passavent emphasised how fine it looks in its actual position, writing that "the magnificent sense of movement in this figure
5916-471: The chapel secretly. Raphael completed the first section of his work in 1511 and the reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades. 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
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#17327654553046032-479: The church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by Antonio da Sangallo the Younger . It would perhaps have resembled the temple in the background of The Expulsion of Heliodorus from the Temple . He designed several other buildings, and for a short time was the most important architect in Rome, working for
6148-633: The circle of Leonardo, while Giovanni Antonio Boltraffio, Marco d'Oggiono, Giampietrino and Cesare da Sesto are represented as pupils in the monument to Leonardo by sculptor Pietro Magni (1872) in Piazza della Scala , Milan. During the first decades of the sixteenth century a number of Spanish painters visited Florence. Fernando Yáñez de la Almedina and Hernando de los Llanos are documented as collaborators with Leonardo on The Battle of Anghiari . Both artists continued their artistic association upon returning to Spain. In 1494–1495 and again in 1505–1507,
6264-483: The city, and began to work as an architect. He was still at the height of his powers at his death in 1520. Raphael was enormously productive, running an unusually large workshop and, despite his early death at 37, leaving a large body of work. His career falls naturally into three phases and three styles, first described by Giorgio Vasari : his early years in Umbria , then a period of about four years (1504–1508) absorbing
6380-512: The collaboration were Lucretia , the Judgement of Paris and The Massacre of the Innocents (of which two virtually identical versions were engraved). Among prints of the paintings The Parnassus (with considerable differences) and Galatea were also especially well known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until
6496-404: The contract, Verrocchio from Florence, Alessandro Leopardi from Venice and Bartolomeo Vellano from Padua . Verrocchio made a model of his proposed sculpture using wood and black leather, while the others made models of wax and clay. The three models were exhibited in Venice in 1483 and the contract was awarded to Verrocchio. He then opened a workshop in Venice and made the final clay model which
6612-501: The cornerstone of the training of the Academies of art . His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired. He was seen as the best model for the history painting , regarded as the highest in the hierarchy of genres . Sir Joshua Reynolds in his Discourses praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of
6728-506: The detailed handling of paint right up to the end of his life. Other pupils or assistants include Raffaellino del Colle , Andrea Sabbatini , Bartolommeo Ramenghi , Pellegrino Aretusi , Vincenzo Tamagni , Battista Dossi , Tommaso Vincidor , Timoteo Viti (the Urbino painter), and the sculptor and architect Lorenzetto (Giulio's brother-in-law). The printmakers and architects in Raphael's circle are discussed below. It has been claimed
6844-646: The early 1470s he made a voyage to Rome , while in 1474 he executed the Forteguerri monument for the Cathedral of Pistoia , which he left unfinished. A bronze statue of David was commissioned by Piero de'Medici. On grounds of style and technique it was dated by Butterfield to the mid-1460s; he considered it a masterpiece of Verrocchio's early career. It was purchased by the Signoria of Florence from Piero's heirs Lorenzo and Giuliano de' Medici in 1476 and
6960-646: The figures across the front of the picture space in a complex and not wholly successful arrangement. Wöllflin detects in the kneeling figure on the right the influence of the Madonna in Michelangelo's Doni Tondo , but the rest of the composition is far removed from his style, or that of Leonardo. Though highly regarded at the time, and much later forcibly removed from Perugia by the Borghese , it stands rather alone in Raphael's work. His classicism would later take
7076-532: The first [i.e., best] painters", especially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention. He did not possess so many excellences as Raffaelle, but those he had were of the highest kind..." Echoing the sixteenth-century views above, Reynolds goes on to say of Raphael: The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and
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#17327654553047192-501: The great artist. Those, like Dolce and Aretino , who held this view were usually the survivors of Renaissance Humanism , unable to follow Michelangelo as he moved on into Mannerism. Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the Lives expressing similar views. Raphael's compositions were always admired and studied, and became
7308-463: The highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Raphael's mother Màgia died in 1491 when he was eight, followed on August 1, 1494, by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle, Bartolomeo,
7424-487: The highest models. Thanks to the influence of art historian Johann Joachim Winckelmann , his work became a formative influence on Neoclassical painting , but his techniques would later be explicitly and emphatically rejected by groups such as the Pre-Raphaelite Brotherhood . Raphael was born in the small but artistically significant central Italian city of Urbino in the Marches region, where his father Giovanni Santi
7540-554: The importance of Verrocchio's workshop in the training of younger painters, very few paintings are universally recognised as his own work and there are many problems of attribution. A painting of the Madonna with seated child in tempera on panel (now in the Berlin State Museums , Gemäldegalerie ) is considered an early work of 1468–1470. A painting in the National Gallery in London (cat. no.NG2508) of
7656-646: The invitation of another pupil of Perugino , Pinturicchio , "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons , and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral . He was evidently already much in demand even at this early stage in his career. Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent
7772-419: The lady is unknown. The relief for the funerary monument of Francesca Tornabuoni for Santa Maria sopra Minerva in Rome is also now in the Bargello at Florence. Verrocchio had been at work in the Funerary Monument to Cardinal Niccolo Forteguerri, Pistoia , when he departed for Venice in 1483. In 1475 the Condottiero Colleoni , a former Captain General of the Republic of Venice , died and by his will left
7888-420: The main frescoes. Most of the artists were later scattered, and some killed, by the violent Sack of Rome in 1527 . 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
8004-531: The most successful compositions of the time in northern Europe. His son, Cornelis van Cleve , continued an artistic interest in Leonardo, producing several copies of his father's work and the Madonna of the Yarnwinder . Andrea del Verrocchio Andrea del Verrocchio ( / v ə ˈ r oʊ k i oʊ / və- ROH -kee-oh , US also /- ˈ r ɔː k -/ - RAW - , Italian: [anˈdrɛːa del verˈrɔkkjo] ; born Andrea di Michele di Francesco de' Cioni ; c. 1435 – 1488)
8120-419: The number of variants that survive: "... This is how Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done." wrote another writer after his death. For John Shearman , Raphael's art marks "a shift of resources away from production to research and development". When
8236-449: The originals of many drawings. The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers. In later works painted by the workshop, the drawings are often painfully more attractive than the paintings. Most Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have
8352-919: The painting of the Virgin of the Rocks for the altarpiece in the chapel of the Confraternity of the Immaculate Conception at the Church of San Francesco Grande in Milan. In 1490, Leonardo earned recognition and a breakthrough at the court of Ludovico Sforza , and because of the scale of works commissioned he was permitted to have assistants and pupils in his own studio. Among Leonardo's pupils at this time were Giovanni Antonio Boltraffio , Ambrogio de Predis, Bernardino de' Conti , Francesco Napoletano , Andrea Solario , Marco d'Oggiono , and Salaì (also known as Giacomo Caprotti or Andrea Salaino). In
8468-503: The patronage of Lorenzo de' Medici and his son Piero. His workshop was in Florence where he was a member of the Guild of St Luke . Several great artists like Leonardo da Vinci and Lorenzo di Credi passed through his workshop as apprentices. Beyond this, artists like Domenico Ghirlandaio , Francesco Botticini , and Pietro Perugino were also involved and their early works can be hard to distinguish from works by Verrocchio. Giovanni Santi records that Botticelli , Luca Signorelli , and
8584-497: The ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro , who married Elisabetta Gonzaga , daughter of the ruler of Mantua , the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari . Court life in Urbino at just after this period
8700-403: The same quarters as del Verrocchio, however, and they collaborated on some projects. Leonardo's father enabled him to set up his own studio. In 1482, Leonardo visited Milan where he stayed with Giovanni Ambrogio de Predis , Evangelista de Predis, and their four brothers, all of whom were artists of different kinds. Both Ambrogio and Evangelista are known for having collaborated with Leonardo in
8816-427: The sixteenth century that Raphael was the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more brilliant than any other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to
8932-402: The skilful accommodation of other men's conceptions to his own purpose. Nobody excelled him in that judgment, with which he united to his own observations on nature the energy of Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed
9048-486: The slight sentimentality of these made them enormously popular in the 19th century: "We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the world has ever had..." wrote Wölfflin , who was born in 1862, of Raphael's Madonnas. In Germany, Raphael had an immense influence on religious art of the Nazarene movement and Düsseldorf school of painting in
9164-453: 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
9280-491: The twentieth century. Baviero Carocci , called "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his money, ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints. From 1517 until his death, Raphael lived in the Palazzo Caprini , lying at the corner between piazza Scossacavalli and via Alessandrina in
9396-584: The varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence , perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci Altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello,
9512-489: The work at all, as he was succeeded by Raphael's last pope, the Medici Pope Leo X , with whom Raphael formed an even closer relationship, and who continued to commission him. Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor. In the course of painting the room, Raphael was clearly influenced by Michelangelo's Sistine Chapel ceiling. Vasari said Bramante let him into
9628-596: The work in both villas being executed by his workshop. One of his most important papal commissions was the Raphael Cartoons (now in the 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
9744-717: Was "La Fornarina", Margherita Luti , the daughter of a baker ( fornaro ) named Francesco Luti from Siena who lived at Via del Governo Vecchio. He was made a " Groom of the Chamber " of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur . Vasari claims that he had toyed with the ambition of becoming a cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage. Raphael died on Good Friday , April 6, 1520, which
9860-411: Was a friend of Raphael. But the most striking influence in the work of these years is Leonardo da Vinci , who returned to the city from 1500 to 1506. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of
9976-467: Was an Italian sculptor , painter and goldsmith who was a master of an important workshop in Florence . He apparently became known as Verrocchio after the surname of his master, a goldsmith. Few paintings are attributed to him with certainty, but important painters were trained at his workshop. His pupils included Leonardo da Vinci , Pietro Perugino and Lorenzo di Credi . His greatest importance
10092-567: Was an Italian painter and architect of the High Renaissance . His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Leonardo da Vinci and Michelangelo , he forms the traditional trinity of great masters of that period. His father was court painter to the ruler of the small but highly cultured city of Urbino . He died when Raphael
10208-667: Was an unusually richly decorated one for the period, including both painted panels on the top story (of three), and much sculpture on the middle one. The main designs for the Villa Farnesina were not by Raphael, but he did design, and decorate with mosaics, the Chigi Chapel for the same patron, Agostino Chigi , the Papal Treasurer. Another building, for Pope Leo's doctor, the Palazzo Jacopo da Brescia ,
10324-438: 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, which are often very difficult to assign to
10440-459: Was as a sculptor and his last work, the Equestrian statue of Bartolomeo Colleoni in Venice , is generally accepted as his masterpiece. Verrocchio was born in Florence in around 1435. His father, Michele di Francesco Cioni, initially worked as a tile and brick maker, then later as a tax collector. Verrocchio never married, and had to provide financial support for some members of his family. He
10556-435: Was at first apprenticed to a goldsmith. It has been suggested that he was later apprenticed to Donatello , but there is no evidence of this and John Pope-Hennessy considered that it is contradicted by the style of his early works. It has been suggested that he was trained as a painter under Fra Filippo Lippi . Little is known about his life. His main works are dated in his last twenty years and his advancement owed much to
10672-534: Was completed by Lorenzo di Credi when Verrocchio was in Venice near the end of his life. Around 1465 Verrocchio is believed to have worked on the lavabo of the Old Sacristy in San Lorenzo, Florence . Between 1465 and 1467 he executed the funerary monument to Cosimo de' Medici for the crypt under the altar of the same church, and in 1472 he completed the monument to Piero and Giovanni de' Medici in
10788-472: Was composed enough to confess his sins, receive the last rites , and put his affairs in order. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the Pantheon . Raphael's funeral was extremely grand, attended by large crowds. According to
10904-520: Was court painter to the Duke. The reputation of the court had been established by Federico da Montefeltro , a highly successful condottiere who had been created Duke of Urbino by Pope Sixtus IV – Urbino formed part of the Papal States – and who died the year before Raphael was born. The emphasis of Federico's court was more literary than artistic, but Giovanni Santi was a poet of sorts as well as
11020-544: 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 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
11136-503: Was eleven, and Raphael seems to have played a role in managing the family workshop from this point. He trained in the workshop of Perugino, and was described as a fully trained "master" by 1500. He worked in or for several cities in north Italy until in 1508 he moved to Rome at the invitation of Pope Julius II , to work on the Apostolic Palace at the Vatican . He was given a series of important commissions there and elsewhere in
11252-400: Was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking . After his death, the influence of his great rival Michelangelo exceeded his until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as
11368-513: 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
11484-425: Was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in
11600-420: Was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike Raphael even more, attributing conspiracies against him to the younger man. Raphael would have been aware of his works in Florence, but in his most original work of these years, he strikes out in a different direction. His Deposition of Christ draws on classical sarcophagi to spread
11716-535: Was influenced by Leonardo's cartoon of Christ among the Doctors , which was commissioned by Isabella d'Este . Dürer produced a painted version of the subject , now in the Museo Thyssen-Bornemisza , Madrid . This is the only painting of Dürer's that was directly influenced by Leonardo, however, Dürer introduced new subjects developed by Leonardo in his art (e.g. the figure of the young Saint John
11832-532: Was less than that of Michelangelo. Mannerism , beginning at the time of his death, and later the Baroque , took art "in a direction totally opposed" to Raphael's qualities; "with Raphael's death, classic art—the High Renaissance—subsided", as Walter Friedländer put it. He was soon seen as the ideal model by those disliking the excesses of Mannerism: the opinion ...was generally held in the middle of
11948-495: Was most worthy and I was very attached to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love..." As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo , who Vasari says
12064-435: Was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time. The Villa Madama , a lavish hillside retreat for Cardinal Giulio de' Medici, later Pope Clement VII , was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by Antonio da Sangallo
12180-446: Was never executed. Four archaeological drawings by the artist are preserved. 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. Other rulers pressed for work, and King Francis I of France
12296-415: Was on an irregular island block near the river Tiber. It seems all façades were to have a giant order of pilasters rising at least two storeys to the full height of the piano nobile , "a grandiloquent feature unprecedented in private palace design". Raphael asked Marco Fabio Calvo to translate Vitruvius 's Four Books of Architecture into Italian; this he received around the end of August 1514. It
12412-429: Was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes. Raphael made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print . His interest
12528-522: Was possibly his 37th birthday. Vasari says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28, and that the artist died from exhaustion brought on by unceasing romantic interests while he was working on the Loggia. Several other possibilities for his death have been raised by later historians and scientists, such as a combination of an infectious disease and bloodletting . In his acute illness, which lasted fifteen days, Raphael
12644-592: Was ready to be cast in bronze, but he died in 1488, before this was done. He had asked that his pupil Lorenzo di Credi, who was then in charge of his workshop in Florence, should be entrusted with the finishing of the statue, but after the considerable delay the Venetian state commissioned Alessandro Leopardi to do this. The statue was eventually erected on a pedestal made by Leopardi in the Santi Giovanni e Paolo in Venice, where it stands today. Leopardi cast
12760-494: Was rich and he used almost all of the then available pigments such as ultramarine , lead-tin-yellow , carmine , vermilion , madder lake , verdigris and ochres . In several of his paintings ( Ansidei Madonna ) he even employed the rare brazilwood lake, metallic powdered gold and even less known metallic powdered bismuth . 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
12876-580: Was sent two paintings as diplomatic gifts from the Pope. For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the Triumph of Galatea and designed further decorative frescoes for his Villa Farnesina , a chapel in the church of Santa Maria della Pace and mosaics in the funerary chapel in Santa Maria del Popolo . He also designed some of the decoration for the Villa Madama,
12992-509: 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
13108-631: Was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione 's depiction of it in his classic work The Book of the Courtier , published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. Raphael became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo , both later cardinals , were already becoming well known as writers, and would later be in Rome during Raphael's period there. Raphael mixed easily in
13224-463: Was unusual in such a major artist; from his contemporaries it was only shared by Titian , who had worked much less successfully with Raimondi. A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving. The most famous original prints to result from
13340-505: Was very early for an apprenticeship to begin. An alternative theory is that the boy received at least some training from Timoteo Viti , who acted as court painter in Urbino from 1495. Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin . Vasari wrote that it
13456-461: 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 . Raphael painted several of his works on wood support ( Madonna of the Pinks ) but he also used canvas ( Sistine Madonna ) and he was known to employ drying oils such as linseed or walnut oils . His palette
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