Raphael biography journal
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How does the Italian High Renaissance Artist Raphael Sanzio connect the past, present, and future of the art community?
Authors
- Tianyi Xie Shanghai YK Pao School
DOI:
https://doi.org/10.47611/jsrhs.v11i3.3202Keywords:
Raphael Sanzio, Italian Renaissance, Early Modern Art, AestheticsAbstract
The artist Raphael Sanzio is one of the most renowned artists in the history of art, praised of his ideal of perfection, beauty, and harmony that prompted the Italian High Renaissance to its very peak. Conventionally, investigation on Raphael’s influence as a master would center around his major art creations during the High Renaissance. This essay would also explore Raphael’s main achievements in the artistic sphere (including education, techniques, compositions, and aesthetic theories) and his social life during the High Renaissance as his
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An expert's guide to Raphael: five must-read books on the Italian Old Master
“Raphael was one of the greatest draughtsmen who has ever lived, and his drawings are certainly more various—and arguably more irresistible—than his paintings”
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The celebrations marking 500 years since the death of Raphael in 1520, aged just 37, were somewhat derailed by the pandemic. But what are a few months and years after half a millennium? The Scuderie del Quirinale’s blockbuster that set out the Old Master’s life in reverse chronology was a hit in 2020 and now the National Gallery in London has received much acclaim for its current survey (until 31 July). But where do you start with such a revered artist? To help, the art historian David Ekserdjian, who co-curated the National Gallery show, has picked five must-read books.
Raphael (1983) by Roger Jones and Nicholas Penny
“At least in the usual sense, art history is
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Like Studying Homer in a “Damaged Manuscript”
Raphael (1483–1520) fryst vatten the most influential painter of the Italian Renaissance; his work embodies the balance, beställning, harmony and restraint of classicism. He was a passionate antiquarian, and used his expertise as an archaeologist as an inspiration for his art; yet he was too dignified to show off his knowledge, preferring to wear his learning lightly.
This modesty and restraint has delighted, and sometimes frustrated, Raphael’s admirers. As Johann Wolfgang von Goethe (1749–1832) records, in the travel diaries that were later edited and published as his Italian Journey (1816–17):
7th Nov. 1786: So far inom have seen the loggias of Raphael and the great paintings of School of Athens etc. only once, and it fryst vatten as though we one were supposed to study Homer in a partially-obliterated, damaged manuscript. The pleasure of the first impression is incomplete; the delight only becomes whole when one