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

Raphael Sanzio
16th Century High Italian Renaissance
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
Raphael, Self-Portrait, 1506
Oil on wood, Uffizi Galleria.
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16th Century High Italian Renaissance
Raphael Sanzio
Raphael, Canagiani Madonna, 1507. HIGH ITALIAN RENAISSANCE
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16th Century High Italian Renaissance
Raphael, Canagiani Madonna, 1507. HIGH ITALIAN RENAISSANCE
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
NORMAL
RAPHAEL
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Raphael Sanzio
16th Century High Italian Renaissance
Raphael
Madonna dell Granduca
c. 1505
Oil on wood.
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16th Century High Italian Renaissance
Sistine Madonna, c.1513-1514.
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Raphael Sanzio
Cowper Madonna, c1505.
16th Century High Italian Renaissance
Raphael Sanzio (from Sistine Madonna)
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16th Century High Italian Renaissance
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Pope Sixtus from Sistine Madonna
16th Century High Italian Renaissance
Raphael Sanzio
Raphael’s Madonnas
Madonna della Sedia
Alba Madonna
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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
16th Century High Italian Renaissance
Raphael
Marriage 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.
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Raphael Sanzio
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“.
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Raphael Sanzio
16th Century High Italian Renaissance
Raphael Sanzio
Raphael, The School of Athens, 1511, Fresco, Stanza della Segnatura.
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16th Century High Italian Renaissance
Raphael, The School of Athens, 1511, Fresco, Stanza della Segnatura.
Da Vinci
Raphael
Michelangelo
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16th Century High Italian Renaissance
Raphael Sanzio
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…
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16th Century High Italian Renaissance
PLATO:
looks to the
heavens [or
the IDEAL
realm].
Raphael Sanzio
ARISTOTLE:
looks to this
earth [the
here and
now].
Da Vinci was
the model.
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16th Century High Italian Renaissance
Raphael Sanzio
The thoughtful Michelangelo sits
alone… probably the way he
liked it.
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16th Century High Italian Renaissance
TITIAN
Titian 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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16th Century High Italian Renaissance
Titian. Venus of Urbino. 1538. Oil on canvas. Galleria degli Uffizi, Florence.
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16th Century High Italian Renaissance
Titian, Portrait of Isabella d'Este,
1534-1536
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.
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Portrait of Isabella d'Este
16th Century High Italian Renaissance
Titian. Bacchus and Ariadne. 1520-1522. Oil on canvas.
The National Gallery. HIGH ITALIAN RENAISSANCE
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
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
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