Raffaello Santi or Sanzio says Raphaël.
Raffaello Santi or Sanzio says Raphaël (1483 - 1520)
Wire of Giovanni Santi, rather average painter, it acquires in its workshop with Urbino the first rudiments of its art. At that time Urbino is a major artistic center with the artistic and cultural radiation significant in all the center of Italy. It leaves to Perugia to study with the workshop of Pérugin with died of his father.
The young man is already endowed with a remarkable capacity of adaptation and a great talent. Its first works reflect the style of its Master with such an exactitude that even today it is impossible to allot them with certainty to one or with the other…
The tables of this first time show the influence of Pérugin clearly but nevertheless certain designs are new. He does not try to represent a symmetry and perfect harmony which makes the fabrics rather insipid. Light shifts appear. At that time it paints many Madonna with half-length in which the relation between the mother and the child is very intimate.
In 1504 it settles in Florence but remains in contact with Urbino and Perugia. Little by little its characters gain in rigour and in plasticity, one finds in his albums of the sketches of studies the naked ones which contributed to perfect its control of the human anatomy. Between 1504 and 1508 its favorite subjects are tables of devotion representing the Virgin and the Holy Family. The composition of the tables of Madonna becomes more homogeneous and compact thanks to geometrical alignments.
Raphaël is also put to paint whole portraits which show the Virgin in a landscape. The provision in pyramid shows the influence of Léonard de Vinci and his Virgin to the rocks.
The Pope Jules II dazzled by his talent entrusts to him the decoration of the Vatican to replace less gifted artists. He carries out a great number of murals and ceilings. In the stanza della it will segnatura carries out symbiosis between ancient wisdom and the Christian religion. In 1511 it completes the frescos which decorate the Room with Héliodore. About 1512 for its larger private sleeping partner Agostino Chigi it carries out the Triumph of Galathée. Its art of the portrait knows a new orientation during its last years in Rome, it does not aim more to one absolute truth but rather at a psychological portrait. It also creates during this period the type of official portrait of the pope where the sitting position of three quarters and profile is essential.
In the application of painting, in the audacity of the colors and the choice of the movements it gives up the clear composition of the High Rebirth to open the way with the