Which of raphaels works includes a self portrait

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Art History U. History World History. April 7, at am. April 25, at pm. Leave a Reply Cancel reply Your email address will not be published. Famous Paintings by Raphael School of Athens. The Marriage of the Virgin. Resurrection of Christ. The only earthly contact alluded to in the picture comes from the inclusion of the Pope's crown and the balcony on which the cherubs are resting.

The piece is important for myriad reasons. It was the last of the Madonnas painted by Raphael but also carries an interesting lineage and influence in Germany. After its acquisition by Augustus III, King of Poland, for , francs, the then highest ever price paid for a painting, it was brought to Dresden. After the war, the painting was taken to the Soviet Union, and remained there until when, following the death of Stalin, it was returned to Dresden.

Its influence continues to this day. The cherubs, too, have garnered a special place in contemporary visual imagery. It is fitting to close with Giorgio Vasari who said of the Sistine Madonna, it is "a truly rare and extraordinary work. This fresco depicts the story of Galatea, daughter of the sea god Nereus, who had fallen in love with Acis, a shepherd. The story goes that Polyphemus, the Cyclops and son of Poseidon, loved Galatea, and when he caught her and her beloved Acis in embrace, he killed him in a jealous rage.

In the center, we see Galatea riding the seas on a conch-shell chariot drawn by two dolphins, trying to flee. Mythical sea creatures, nymps, and flying putti surround the heroine in this dramatic escape. It is the only painting from Greek mythology ever painted by the artist. It was inspired by the poem "Stanza per la Giostra," by Angelo Poliziano, which is also thought to have been the inspiration for Botticelli's The Birth of Venus The verse describes how, despite the love song sung by Polyphemus, Galatea spurns his love, sailing away with her company of sea nymphs.

Although neither his poetic series nor the intended frescos to decorate the villa were completed, we are lucky to have within this work a marvelous example of Raphael's technical artistic ability as well as imaginative interpretation. The piece breathes with an emotional intensity that is testament to Raphael's ability to conjure ideals of grandeur so majestically. The figures in the composition all interact with each other to form a cohesive whole. Each gesture is met with a reciprocal gesture, guiding our gaze to the central beauty of Galatea's face, which the artist professed came directly from his imagination rather than a model.

A frenzied fluidity of movement is achieved through Galatea's billowing robe, the plunging dolphins, and the supreme musculature of the other figures, illustrating perfect machinations of the body.

It's easy to see Michelangelo's influence in the muscular forms or Leonardo's harking back to Roman classical frescos with the bright coloring. Yet, there is no doubt that this painting is a supreme example that embodies all Raphael had learned resulting in a magnificent elegy to the dreamlike nature of beauty.

Perhaps no other work by Raphael can be said to epitomize his passion for presenting beauty in all its idealism as this one, a portrait of his beloved Margherita Luti. Of note is the pearl in her hair, a reference to her name, which means pearl. The painting was borne of the artist's adoration rather than a work that was commissioned. In it, Margherita's facial features are reminiscent of the face in many of his Madonnas and present a quality of loveliness bestowed by the male gaze.

The clear smoothness of her skin, the alluring almond shape of her eyes, and the perfectly modeled face in a pose of the divine, otherwise considered unattainable, make this piece an unforgettable testament to love. In fact, the art historian Oskar Fischel called it "a love-prompted improvisation. He also adopted Leonardo's innovation of painting half-length portraits, which allowed Raphael to focus on his skill at painting the lustrously shimmering fabric of his subject's dress.

The art critic Julia Addison saw an amorphic sexuality in the looseness with which it is depicted the way others refer to the voluptuous sexuality of Georgia O'Keeffe's flower paintings. The painting remains important to Raphael's overall oeuvre. Although a portrait of extraordinary beauty, La Donna Velata is unique in that it is of a real person, not merely a represented objectification of beauty.

By painting a portrait imbued with such personal history, Raphael not only gives us a consummate homage to beauty and his legendary love of women, but also a reflection of his adoration of the sitter which makes him so personable. Raphael's portrait of his close friend Baldassare Castiglione is rife with intimacy and emotionality in its depiction of a cultured man. His gaze is powerful yet humble, in homage to the kind of power gained without affectation or arrogance.

He appears to be a man confident in his intellect, and thus a man devoted to the highest ideals of humanism, which was the most influential philosophy of the time. The brown background adds to the solemnity of the painting as it mutes the colors of the doublet trimmed with fur and black ribbon.

In the quiet space of his presence, lurks the human vulnerability of the sitter. Castiglione was a diplomat and author of The Book of the Courtier , a text which discussed manners and court etiquette, and which became an important cultural influence in the 16 th century. The Book of the Courtier , on the other hand, considered the responsibility of power guided by humanistic virtue. With its excellent vulnerability, Raphael's portrait epitomized the restrained elegance of the courtier, which Baldassare proposed as necessary in his book.

Baldassare was so impressed by the painting he referred to it in a poem he wrote to his wife in which he praised the uncanny likeness and the human presence it emits. The composition showing the sitter in three-quarter profile gazing out at the viewer, contained within the pyramidal design much favored in the Renaissance was reminiscent of Leonardo da Vinci's Mona Lisa , which Raphael is said to have seen before Leonardo da Vinci left for France.

The painting is one of the most famous portraits of the High Renaissance and has enjoyed extensive popularity over the years. Its influence can be seen in the work of other prominent artists, including Titian with his Portrait of a Man , the self-portraits of Rembrandt, and Jean-Auguste-Dominique Ingres' Portrait of Monsieur Bertin One of the most well-known of Raphael's paintings which was not commissioned, La Fornarina is a sister portrait to La Donna Velata and depicts Margherita Luti, the artist's great love.

The painting shows a seated half-length nude looking out at the viewer in an undone dress, concealing the lower part of her body. While her left hand rests on her lap, her right hand touches her breast.

A veil, while a symbol of modesty, fails to conceal her sensuously presented upper torso. The dark landscape in the background enhances the tonal modeling quality of the painting, and richness of the turban she wears. With her flawless skin and radiant face she looks straight past us, smiling to someone on our right, and, knowing her relationship with Raphael, we have no hesitation in imagining her looking at her lover as he painted her.

Raphael signed this painting on the band on her arm, perhaps alluding to his possession of her. After a recent restoration it appears the girl was originally wearing a wedding ring. Because the wedding ring was painted out, speculation rose that Raphael had secretly married Margherita. But due to their different social classes, and the fact that he was already engaged to Maria Bibbiena, the pair had to enjoy their union in private.

The work shows Leonardo's influence on Raphael, seen in the way gesture is used to convey meaning. It is also representative of the artist's mission to depict only the highest ideals of beauty.

As Gustave Flaubert noted in his Dictionary of Received Ideas , "Fornarina: She was a beautiful woman," of which there is little doubt. In it, Margherita is resting on Raphael's knee, with Raphael looking adoringly at his own painting of La Fornarina. Picasso, too, was entranced by Raphael's secret passion and in created his famous series of 25 erotic etchings. This painting combines two biblical narratives. The title refers to the story of Christ referred to in the synoptic gospels of Matthew, Mark, and Luke, in which he took three of his disciples up a mountain to show his true form, an act validated by the voice of God.

The second tale is that of the Miracle of the Possessed Boy , which relates an encounter after the Transfiguration when Jesus and his disciples descended the mountain only to encounter a man who begged Christ to heal his devil-possessed son. The presentation of these two stories is visually accomplished by the contrast between above and below. Christ is shown in the upper half with the prophets Moses on the right and Elijah on the left, both illuminated by the emanating divine light.

Peter, James, and John cower below them on the mountaintop, overwhelmed as they shield their eyes from the radiance. On the left of the top half of the painting are said to be two saints, Felicissimus and Agapitus, who were martyred with Pope Sixtus II in , on the feast day commemorating the Transfiguration. In the lower half of the painting we see earthly turmoil as the crowd awaits the miracle Christ is about to perform to rid the boy of demons, which has also been interpreted as an epileptic fit.

The boy's father leads him toward the apostles on the left, who are unable to help him. One points to Christ, another at the child, while the one on the bottom right holds out his hand as if asking the viewer to be privy to the scene.

This was the last painting Raphael worked on. Raphael's was for an altarpiece. The other The Raising of Lazarus , was based on a drawing by Michelangelo that would eventually be completed by his friend Sebastiano del Piombo. The commission rekindled the competition between the two artists.

Raphael had still not completed his work by the time of his death although the main part of the work is by his own hand. His pupil Giulio Romano and his assistant Gianfrancesco Penni would later complete it. It reflects the culmination of Rachael's artistic achievement in his short life and began to receive public and critical acclaim following Raphael's death. The painting was hung in Raphael's studio while he was lying in state and was carried at the head of his funeral procession followed by a large crowd of mourners who accompanied the procession.

Instead of finding home with the Cathedral at Narbonne, it was placed above Raphael's tomb in the Pantheon, where it remained for three years before being donated to the Church of San Pietro Montorio. It was then confiscated by Napoleon in and went on public display in the Louvre, becoming the centerpiece in the Grand Galerie, which hosted 20 other paintings by Raphael. The importance of the painting while in France is demonstrated by the fact that it was included in a drawing by the artist Benjamin Zix who recorded the wedding procession of Napoleon and Marie Louise in Following Napoleon's defeat in , it was returned to Rome.

Described by Giorgio Vasari as Raphael's "most beautiful and divine work," this painting has been a source of constant education and inspiration to artists. Turner used it as reference in a lecture on composition, and Caravaggio for its use of chiaroscuro the effect of contrasted light and shadow , a technique Caravaggio went on to master. Often alluded to as an important example of Mannerism, a style of European art that emerged at the time of Raphael's death and lasted until the end of the 16 th century, the dramatic artistic tension in the lower half of the painting also echoes the Baroque style that replaced Mannerism.

Content compiled and written by Zaid S Sethi. Edited and revised, with Summary and Accomplishments added by Kimberly Nichols. The Art Story. High Renaissance. Raphael gives it to us. Summary of Raphael Alive for only 37 prolific and passionate years, Raphael blazed a comet's trail of painting throughout the apex of the Italian High Renaissance. Read full biography. Read artistic legacy.

William-Adolphe Bouguereau. Influences on Artist. Leonardo da Vinci.