Raphael Santi (1483-1520), Raffaello Santi's full name is Raffaello Sanzio da Urbino, often called Raphael, a famous Italian painter and one of the "Three Masters of the Renaissance" The youngest among them, represents the pinnacle that artists during the Renaissance could reach in their career of ideal beauty. In 1520, Raphael returned home with a high fever, but the doctors only thought he had caught a cold, and he died on Good Friday, April 6, not long after.
He has a peaceful and elegant temperament and created a large number of Madonna statues. His works fully embody tranquility, coordination, harmony, symmetry, perfect and quiet order.
Biography of the character:
Raphael was born in Urbino, Italy at three o'clock in the morning on Good Friday, 1483. His father, Giovanni Santi di Pietro, was an unknown painter. After the birth of his only son, he named him Raphael and insisted on naming him Raphael. Mother (Magia di Battista di Nigella Ciara) raised her personally. Therefore, in his childhood, Raphael was influenced by his parents' family environment and developed good behavioral habits, but was not affected by the vulgar and barbaric ways of poor families.
When Raphael grew up, Giovanni discovered that he particularly loved painting and was quite talented in this area, so he began to teach him painting. A few years later, at a young age, Raphael became Giovanni's right-hand assistant in many of Urbino's creations. Later, when Giovanni gradually realized that he could no longer teach his son anything more, he decided to let Raphael become a disciple of Pietro Perugino. According to other research, after Raphael's father died on August 1, 1494, he inherited his father's painting workshop and did not leave Urbino until 1499. It is also said that after Giovanni's death, Raphael's uncle Chiara took Raphael into his care and took on the responsibility of raising him. In 1498, he went to Perugia and entered the studio of painter Perugino to study painting.
On December 10, 1500, the wool merchant Andrea Baronzi commissioned Raphael and Evangelista da Pian di Meletto (also translated as: Evangelista Pian Meledi) created the "Coronation of St. Nicholas of Tolentino" screen. At this time, Raphael was already signed as "Master" and his name preceded his colleagues. On September 13, 1501, the work was completed and the reward was received.
When Raphael studied Perugino's painting style, he imitated every detail so realistically that the portraits he drew were exactly the same as the teacher's handwriting, making it difficult to tell whether they were genuine or not. For example, in a wood panel painting for Mrs. Mandalena Degli Audi in the Church of San Francesco in Perugia, he painted many portraits in oil to show the scene of the Assumption of the Virgin, with Jesus crowning the Virgin in the air. , the twelve disciples around the tomb are gazing at the brightness of heaven. The work is so finely executed that anyone not versed in the style of painting would mistake it for Perugino's handwriting.
In 1502, he was commissioned by the Abbot of Monduje Monastery in Perugia to create the "Coronation of the Virgin", which was completed in 1503.
As Perugino returned to Florence for some reason, Raphael left Perugia and went to Castro City with some friends. Here he painted a panel in that style for the church of Sant'Agostino, and a crucifix for the church of San Domenico, which would have been unrecognizable had it not been for the signature of Raphael. The work is by Perugino. He also painted a "Marriage of the Virgin" in 1504 in the city's Church of San Francesco, a painting that shows that Raphael had technically perfected and surpassed Perugino's style.
While Raphael was gaining great reputation for imitating his master's style, Pope Pius II entrusted Pinturiccio with the decoration of the crypt of Siena Cathedral. Pinturiccio took Raphael to Siena, where Raphael made some sketches for the project.
However, because Raphael heard that many painters in Siena were full of praise for the paintings made by Leonardo da Vinci and Michelangelo in Florence, he went to Florence before the project was completed.
After arriving in Florence in 1504, Raphael established friendship with young painters such as Ridolfo Ghirlandaio and Aristotle da San Gallo, especially Tadeo. ·Tadei often invites Raphael to his home for dinner. Raphael rewarded him by painting him two paintings in a transitional style between the early Perugino technique and another technique he later learned. ’ Raphael was also very close to Lorenzo Nasci, and because Lorenzo had recently married a wife, Raphael painted a painting of the Madonna and Child for him.
After Raphael returned to Perugia, in 1505 he painted a painting "The Virgin and Child, St. John the Baptist and Bari" for the Ancidei Chapel of the Church of the Virgin Mary. Nicholas" (also known as "Madonna of Ansidi"), and then he painted a fresco for the chapel of Santa Maria in San Severo, a small monastery of the Camaldori Order, in which Christ is bathed in a halo and surrounded by angels. Around him, six saints sat on both sides. On this mural, he signed his name in huge letters. Later, the nuns of San Antonio da Padua in that city hired him to paint a portrait of the Virgin and a clothed Christ, and he completed the painting in compliance with their request.
Before Raphael left Perugia, Mrs. Atalanta Baglioni begged him to paint a panel painting in the chapel of the Church of San Francesco. Since he could not fulfill her wish at that time, he promised to fulfill her wish after returning from handling affairs in Florence.
During his stay in Florence, he devoted countless efforts to the study of painting and also designed sketches for the painting in the chapel. Raphael studied Masaccio's early paintings in Florence and witnessed the works of Leonardo and Michelangelo, which prompted him to study more diligently. At that time, Raphael was very close to Fra Bartolomeo of the Monastery of San Marco. Raphael was fascinated by this man's coloring skills and decided to imitate him. In return, he taught him the perspective techniques that his predecessor had once ignored.
However, just as the relationship between the two deepened, Raphael was recalled to Perugia, where he began to draw Atalanta Ballio using the sketches he had already designed in Florence. An order entrusted by Nigeria. This painting shows the burial of Christ. When making it, Raphael imagined the grief expressed by people as they carried their most beloved relatives to be buried. After completing this work, Raphael returned to Florence and was commissioned by the citizens of Dei to paint an altarpiece for their chapel in the Church of the Holy Spirit. So he set to work, and the sketches were in rapid progress, and at the same time he also painted a picture to send to Siena.
On April 21, 1508, Raphael wrote a letter from Florence to his uncle in Urbino, asking his uncle to find a way to help him obtain a letter of recommendation: Florence In the Municipal Square project, he wanted to bid for the decorative part of one of the reception rooms (but this matter was not followed up) [15]?. Because Bramante was working for Pope Julius II, and because of the little contact and friendship they had had, he wrote to Raphael to tell him that he had persuaded the Pope to build some additional rooms in the Papal Palace. Phil might have a chance to show off his skills there. So Raphael left his work in Florence and Dey's unfinished order (but the painting was almost completed) and went to Rome. Before leaving Florence, he entrusted the work to Ridolfo del Ghirlandaio, asking him to complete some of the blue clothing in the picture.
After arriving in Rome, Raphael found that most of these rooms had been painted with patterns, such as a painting by Pietro della Francesca, Luca da Cortona completed one wall, while Don Pietro della Gata, a friar from the church of San Clemente in Arezzo, was already at work. Bramantino, a Milanese, also painted several paintings, mostly portraits. Raphael was warmly welcomed by Pope Julius II, and the first painting he painted in the "Signature Room" of the Vatican Palace was "The Controversy of the Sacraments".
Raphael completed the composition of the four walls first, and then the zenith, but he first painted the four personified goddesses on the zenith.
The Pope's financial expenditures on January 13, 1509 clearly included a payment account to Raphael. On October 4, Raphael was awarded the honorary title of "Chief Painter" of the church.
While decorating the Second Chamber, Michelangelo clashed with the Pope over the work on the Sistine Chapel and fled to Florence. Bramante held the keys to the chapel, and because of his good relationship with Raphael, he was allowed to enter and watch in order to learn Michelangelo's techniques.
On August 16, 1511, Pope Julius II set up a studio in the palace and asked Raphael to paint a portrait.
A letter dated May 24, 1512 shows that Isabella, the Marquis of Manteva, asked Raphael to paint a half-length portrait of Federico Gonzago wearing armor.
On January 11 and February 19, 1513, he received two letters from the Vatican nuncio Manteva, asking Raphael to paint a portrait[4]? When Julius II died on February 21, Raphael had to temporarily stop working on the Signature Hall. Soon after Leo X came to power, Raphael first completed the murals in the Eliodoro Hall. On July 7, Raphael received his first commission from the new Pope Leo X - 50 gold ducats.
In March 1514 Raphael began to decorate another room, the Borgo Fire Hall. The entire design included four different scenes, and each painting featured Pope Leo X. The work began on the day of Bramante's death, and Leo X organized a campaign to fill Bramante's vacancy. Finally, on April 1, Raphael was temporarily appointed as the chief architect of St. Peter's Basilica with a salary of 300 ducats a year, and the official letter of appointment as Butumante's successor architect came in the form of a papal indulgence. Awarded on July 1st. Due to his lack of practical experience as an architect, Raphael also received help from two experienced collaborators - Fra Giocondo from Verona and Giuliano da Sr., an architect from Medici. · Sangallo. In a very short period of time, they helped Raphael improve his professional knowledge of architecture and asked him to look at the classic examples of architecture designed by Vitruvius.
On June 15, 1515, he made a draft of the painting for the Sistine Chapel service. On August 27, Raphael was appointed as the Protector of Roman Monuments. This position required extensive knowledge of classical architecture, sculpture and painting, which accumulated a lot of experience for his future interior decoration work. In their replies to Isabella Tisdu on June 7, to Castiglioni on November 8, and to Lady Isabella on November 30, they stated what they expected from Raphael. "Sketches" paintings.
In a letter to Siena on April 1, 1516, he mentioned the painting of several works such as the "Portrait of Badassare Castiglione".
A portrait of a noble lady was painted in 1517. In October, he purchased the mansion for three thousand gold coins.
The completion of the portrait of Lorenzo di Medici was mentioned in the letter from January 22 to February 5, 1518. Several letters from March 1st to June 19th recorded the completion of works such as "San Michael and the Devil" and "Holy Family". Purchased a vineyard in Rome on May 15th.
In 1519, he raised the issue of protecting Roman ruins and ancient city map manuscripts with Leo X. On May 7, he received one thousand gold coins from the Holy See Finance Bureau. Completed seven manuscripts of the Sistine Chapel liturgical tapestries. At the same time, he painted the oil painting "La Fornalina", as well as the palace mural "Love and the Three Beauties" and the oil painting "The Transfiguration of Christ" in Farnese, Rome.
In 1520, Raphael returned home with a high fever, but the doctor only thought he had caught a cold, and he died on Good Friday, April 6, not long after.