Brief introduction of lavender,

1483 was born in urbino on April 6th, and 1520 died in Rome on April 6th. Formerly known as Raphael St. George. He studied painting with his father (the court painter of the Duke of urbino) since childhood, then transferred to the school in perugino and started his career at 1500. Raphael's early works show extraordinary genius. The Wedding of the Virgin was painted at the age of 2 1 year, which not only shows that he fully absorbed the artistic essence of perugino, but also came from behind and made innovations in composition and image-building. In particular, the balance of the picture, the depiction of the background, and the dignified and elegant images of the Virgin Mary and her husband Yue Se are rare in previous painters' works. From 1504 to 1508, he lived in Florence, where he was restored and influenced by politics, democratic spirit and humanistic thought. At the same time, he carefully understood the artistic characteristics of the masters of various painting schools, learned from others, especially devoted himself to studying Leonardo da Vinci's composition techniques and Michelangelo's human body performance and heroic style, which made his beautiful style with unique classical spirit mature day by day, thus quickly achieving great achievements on par with Leonardo da Vinci and Michelangelo. His series of portraits of the Virgin Mary are different from similar themes painted by medieval painters, and all of them embody humanistic thoughts with maternal warmth and youthful bodybuilding. Among them, Notre Dame de Orioles (Uffizi Art Museum in Florence), Notre Dame de Grasses (Vienna Museum of Art History) and Notre Dame de Gardens (Louvre Museum) are the most famous. 1512 ~1513 painted a large oil painting "The Sistine Madonna". The figures are similar in size to real people, and the triangle composed of the virgin and saints is solemn and balanced. The Madonna and Jesus are strong, showing the happiness and greatness of maternal love. The other, taller, is the statue of the Virgin of Frino in the form of an altar painting, as well as the statue of the Virgin of Chair and the Madonna of Alba later created, all of which are his perfect works. After 1509, he was invited by Pope Julius II to paint the murals of the Vatican Palace, among which the murals of the signature hall were the most outstanding. These paintings all over the walls and roofs of the hall represent four aspects of human spiritual activities: theology, philosophy, poetics and law. In addition to his unique painting style, his works also pay special attention to the full harmony between painting expression and architectural decoration, giving people a solemn and rich feeling. Other important works in this period include: Eliodoro was banished from the Temple and Bolshenna Mass in Eliodoro Hall, Fire of Porgo by the Fire Department, and Victory of Galatia by Fanesina Villa. The image-building and the use of light and color in these works have reached a new level, and they are known as the pinnacle of ancient and modern mural art.

His portraits have also achieved great success. Both form and spirit are full of charm. Most of them use the micro-side half-length posture to hide the background, and only the natural and friendly manner of the characters stands out in the picture. Representative works include The Image in Castiglio and The Image of a Woman in a Yarn. The former describes a scholar, personable, knowledgeable, and vividly displayed. The latter depicts a girl whose appearance is similar to the image of the Virgin in the author's works, but her elegant dress and strong figure appropriately represent the women in life. /kloc-in the spring of 0/520, he was seriously ill and was still painting the transfiguration of Christ. Although it was not completed, the part from his hand was still magnificent, indicating that he was still exploring, enriching and perfecting his own style at the last moment of his life.

Although Raphael's life is as short as Mozart's (there are many similarities in their lives), there are many legends and examples about him. On the one hand, these legends and examples affirm the undisputed talent of the painter, on the other hand, they may hinder the understanding of the painter. When it comes to Raphael, Raphael's artistic style is always inseparable from the adjectives "extraordinary" and "perfect", which started from vasari. This makes it impossible for the general public to deeply understand Raphael (one of the greatest painters in the world art history) and communicate with him, and it is also impossible to immediately distinguish Raphael's works from those crappy works that always want to publicize with words such as "genius" and "genius expression", so as to appreciate life in his works.

Raphael's works fully embody tranquility, harmony, coordination, symmetry and perfect and quiet order-in this sense, his works can indeed be called "the peak of humanism and Renaissance world". What people often forget or ignore is that Raphael reached the peak in the center of history, in a series of major events and some ideological trend that only lasted for a short time. The creator of this miracle is a young man, and this young man can't compete with the two greatest masters-Da Vinci and Michelangelo. These three people live in the same era. Raphael found the "third way", which is a synthesis and transcendence of all artistic achievements of his time. This is Raphael's glory and historical role through unremitting examination, experience and thinking with his art and thought, hard work and rationality. His success is attributed to his extraordinary talent: refining and digesting any kind of inspiration and enlightenment from the lofty revolutionary era of art (from the end of 15 to the beginning of 16). This shows his great wisdom and superb harmony creation. This ability is really unusual. Edit this paragraph | Return to the top Raphael Sanzio-Raphael's early works inherited perugino's quiet and gentle style, and were deeply influenced by the atmosphere of studying classical art at the end of 15, which made his works as a teenager different, reaching a quiet and dynamic state, which was more beautiful than his teachers. The representative work in this field is 1504' s The Wedding of the Virgin Mary. In composition, there is no departure from perugino's stereotype, but the effect of balance and concentration is more prominent. The depiction of a hexagonal classical chapel building occupying a large position in the background is particularly striking, while the images of the Virgin Mary and her husband Yue Se in the foreground are dignified and elegant, full of fresh and pure temperament, which is rare for previous works. On this basis, his observation and study in Florence is tantamount to adding wings to the tiger, making his beautiful style of classical spirit more mature and rich under the enlightenment of Leonardo da Vinci and Michelangelo. According to G. vasari, an art historian in the16th century, Raphael took studying in Florence as the main course he had to take before he became a master, and he thought Leonardo da Vinci was the greatest of all masters. In fact, not only the painting method of figure painting, but also the composition technique of Leonardo da Vinci was the most studied by Raphael. Facts have proved that every work of his in this period benefited from Leonardo da Vinci in composition. On the other hand, Michelangelo's strong style and perfect human body performance also had a great influence on Raphael. However, he was able to learn from others' strengths, integrate them and form a whole, thus quickly keeping pace with Leonardo da Vinci and Michelangelo and making great achievements. Florence's main works are a series of Madonna statues, which established Raphael's most popular position in western society. The Madonna in his works is completely different from the medieval icon painting, which perfectly embodies the humanistic ideal of maternal warmth and youthful bodybuilding, and is regarded as the most outstanding artistic expression of secular ideal overcoming religious ideal. Among them, the most famous works are three portraits of the Madonna with similar compositions: the Madonna with an oriole (about 1505, Uffizi Art Museum in Florence), the Madonna on the grass (about 1505, Vienna Museum of Art History) and the Madonna in the garden (about 1507, Louvre Museum in Paris). They are all centered on the triangle composed of the virgin Mary, the infant Jesus and St. John, and the background presents an idyllic scenery. The expressions and postures of mothers and young children are closely related, balanced and harmonious, which is a masterpiece using the composition principle of Leonardo da Vinci, but it goes beyond the well-informed and simple. In addition, Notre Dame de Grande (1505) highlights the sense of solemnity and simplicity with a more concise composition (only showing the bust of the virgin with her young son), and the strong figure shows the inspiration of Michelangelo's art. Raphael's altar painting "The Buried Christ" in Florence (1507) more clearly imitates Michelangelo. However, looking at what he did at this time, his unique beauty and harmony, balanced composition and elegant emotion are remarkable even in Florence art world. Therefore, at the age of 25, he was hired as a first-class master to paint Catholic palaces in Rome. Edit this paragraph | Back to the top Raphael Sanzio-Mural Creation Raphael's murals in Rome have always been regarded as excellent examples. At that time, artists such as Michelangelo and D. bramante, as well as a large number of humanists and poets gathered in Rome, and their cultural strength pursued classical and contemporary ambitions to help artists create magnificent and elegant commemorative works. 1508 ~151kloc-0/year, Raphael painted the mural of the signing hall of the Vatican Palace for the first time. This is a square room where the Pope signed the imperial edict. Murals include the roof and four walls. Raphael decorated the roof according to the traditional pattern frame, focusing on four paintings on the wall, representing four aspects of human spiritual activities: theology, philosophy, poetics and law. The picture of "the struggle of doctrine" is divided into two parts by the cloud. The first half shows Christ and saints, and the second half shows four theologians and other leaders of the church. Athens School brings together famous philosophers from ancient times to modern times, mainly Athenian scholars, with the grand classical hall as the background. These murals not only give full play to Raphael's unique style of harmonious composition and beautiful image, but also pay attention to the full harmony between painting performance and architectural decoration, and have achieved very outstanding results, giving people a solemn, vivid and colorful feeling. Among them, "Athens Painting School" is particularly prominent in characterization and background composition, and is regarded as the pinnacle of ancient and modern mural art.

After the mural of the signing hall was completed, the Pope was very satisfied and the Roman art world was ready to praise him. Raphael was asked to continue painting murals of other rooms:1512 ~1514 ~1565438 completed the mural of Eliodoro Hall. This kind of work needs the cooperation of assistants, and the style and level of some murals have been influenced to some extent, but Raphael's works are still excellent, among which the most famous ones are Eliodoro Exiled from the Temple, Bolshenna Mass in Eliodoro Hall, Pogo Fire in the Fire Department and Miracle of Fishing in Tapestry. When these murals were made, Michelangelo's murals on the roof of the Sistine Chapel had been completed and unveiled. Raphael was deeply moved, and strengthened the depiction of human body and sense of movement in his works, reaching a new level. In addition, the Mural of Fanesina Villa, which Raphael repeatedly painted at the request of Vatican Minister A. Gigi, is also one of his representative works. Among them, The Triumph of Galatia (151~1513) shows Galatia, a sea fairy, celebrating and marching with the theme of classical mythology. The fairy image is elegant and beautiful, and it is very successful. In his letter to a friend, he said that in order to achieve such a perfect shape, he must be good at choosing the best model and turning to the most beautiful image in the ideal, which shows the principle that his artistic creation should be treated ideally on the basis of reality. Edit this paragraph | Back to the top Raphael Sanzio-Madonna and Portrait In addition to murals, Raphael also created many Madonna, altar paintings and portraits during his 65,438+00 years in Rome, which fully reflected his aesthetic style. The Sistine Madonna was created in 65,438+05,654,38+02 ~ 65,438+05,654,38+03 years. This is a canvas oil painting 2.65 meters long and nearly 2 meters wide. The characters in the painting are life-size, just like the altar painting of the Virgin Mary. The picture unfolds in the form of the curtain being unveiled for the first time. The virgin mother walked from the clouds to the curtain with baby Jesus in her arms. At the curtain, two saints, a man and a woman, are kneeling, and two angels are painted at the bottom of the picture. The triangle composed of the virgin and the saints is solemn and balanced. The bodies of the virgin and Jesus are full of strength in bodybuilding, which not only shows the happiness of the mother, but also shows the greatness of maternal love, because the appearance of the virgin descending from the sky means saving the world and helping the people for her son. This Madonna successfully embodies the characteristics of the Renaissance in both content and form, and is also a perfect representative of Raphael's typical style, which has a great influence on later classical schools and academic schools (see the color picture "Madonna of the Sistine Chapel" (1512 ~1513)). Another larger altar painting, The Madonna of Frino, shows the Madonna sitting in the clouds, surrounded by saints and donors, and the ground foreground is the field scenery of Frino. The gesture of the Virgin Mary in the painting has both triangular composition and graceful lateral rotation, which shows that the artist is good at integrating the achievements of Leonardo da Vinci and Michelangelo into his own creation. Two other famous statues of Notre Dame in Roman period are circular paintings, namely "Notre Dame on a chair" and "Notre Dame Alba". In the former, the figures are arranged compactly, and the sitting Madonna and the infant Jesus occupy most of the picture. The Madonna's eyes are fixed on the audience, and her dedicated expression is full of thought. The depiction of the dress chair seat makes people feel amiable, harmonious in composition and warm in color, making this painting the most popular work of Raphael. Notre Dame de Alba is perfectly presented by the triangular composition of the Virgin Mary, Jesus and St. John in circular paintings and the quiet and beautiful scenery. Raphael also made great achievements in portrait painting. In Florence, he has excellent works in this field. After arriving in Rome, due to the growth of experience, he was able to have both form and spirit. He copied the pose of the micro-side bust shot by Leonardo da Vinci in the Mona Lisa, but hid the background, and only showed it in the frame with the natural and friendly expression of the characters. Among them, the famous masterpieces are Portrait of Castiglio (15 16) and Portrait of a Woman (15/kloc-). The former is Raphael's good friend and a portrait of a famous humanist scholar, which shows his elegant demeanor and profound knowledge to the fullest. The latter is an anonymous beautiful girl, who may be the lover of an artist. Her appearance is similar to some of Raphael's Madonna, but she describes a woman in life appropriately with her young and robust posture and gorgeous and elegant clothes. /kloc-in the spring of 0/520, Raphael was still writing for the painting "The Transfiguration of Christ" when he was ill, and finally died of fatigue. The painting was only half finished, and then it was finished by its disciples. But the characters in this painting are still magnificent, which shows that the artist is still exploring and enriching his own style, and the wealth he has added to the treasure house of human art in his short life is unparalleled. Edit this paragraph | Return to the top of the page Raphael Sanzio-Masterpiece Appreciating this painting "Athens Academy" (1510 ~1511year) is based on the Athens Academy built by the ancient Greek philosopher Plato, and is based on the seven ancient liberal arts. The artist tried to pin his longing for a better future by recalling the golden age in history. Its theme is to worship the Greek spirit and pursue the highest ideal of life, which is the long-cherished wish of humanistic artists themselves. The whole painting is set in a tall building arch, and the hall is filled with famous scholars from different times, regions and schools, as well as former thinkers and contemporary celebrities. They are discussing freely, and their emotions are warm, as if they are holding a ceremony or celebrating a grand festival, filled with the atmosphere of a hundred schools of thought contending and condensing the essence of human wisdom. This building is obviously modeled after St Peter's Cathedral designed by bramante. In the niches on both sides, there are statues of Athena, the goddess of wisdom (right) and Apollo, the god of music (left). The arch in the center of the perspective point leads directly to the distant horizon, which is an extremely sacred environment. Scholars are symmetrically but rhythmically arranged on both sides of the steps, and the characters on the upper steps are lined up. In the middle are two great scholars-Plato and Aristotle. As they walked towards the audience, they seemed to be arguing fiercely. Aristotle stretched out his right hand, palm down, as if to explain: the real world is his research topic; On the other hand, Plato pointed his right hand upward, indicating that everything was inspired by the gods. These two opposing postures express their ideological differences in principle. The rest of the people, some staring at the moon, some watching, some listening to the conversation between the two old people, naturally formed several groups. Man on the upper steps: At the upper left side of Plato, an old man with a beard is immersed in thinking. Socrates has just turned to explaining ethical arguments to others. The fifth person from left to right is a young soldier named Alsi Bydes. Behind him, a man is greeting two young people coming. At Aristotle's side at the top right, two young people are leaning against the base of the niche wall. One is writing, the other is thinking, and the other is standing alone. These three people are opposite to the group on the left. On the left side below the steps, centered on Pythagoras, a mathematician who is sitting on the ground and writing intently, a teenager is holding a' wooden sign' for him, which reads a "harmonious" number scale diagram. Behind him, an old man is recording the number of Pythagoras' arguments. The scholar behind him with a neck stretched out and a white scarf wrapped around his head is the Muslim scholar Aviloy. A little further behind, there is a man wearing a laurel crown and standing on the pedestal with his chest out. He is the master of grammar, Epicurus. The scholar standing in front of Pythagoras and pointing to the sentences in the book is the rhetorician Saint-Nock Leites. Among them, there is a blond young man in a white cloak. He has a delicate face and a grim expression. He is regarded as Francesco de la Roffe, the future archduke of Ullbin. In the group on the right under the steps, the central figure is the geometer Euclid (Archimedes). He bends down, holds a compass in his hand, and tells the students calculus on the blackboard, surrounded by his four students. These four people seem to have different understandings of the teacher's explanation. The man next to him, wearing an ancient yellow robe, wearing a crown of honor and holding astronomical instruments, is an Egyptian astronomer Ptolemy. Opposite Ptolemy, bramante, a fellow countryman of the painter Raphael (an old man with a beard), is the painter Sodoma on the edge, and the young man with half his head exposed and a dark round hat is the painter Raphael himself. Painting himself as a historical theme was the painter's favorite expression at that time, but Raphael left himself too little space. On the central step of this painting lies a lonely and cynical philosopher, diogenes. The scholar thinks that everything except natural needs, including social life and cultural life, is insignificant, so he usually wears rags and lives in a wooden box. This figure played a role in filling the gap in composition. He contacted two people walking on the steps on the right, and echoed Heraclitus, a scholar leaning on the stone table in the lower left corner. According to many scholars' research, Heraclitus' lonely image is considered to be the result of Raphael's reference to the image of the prophet St. Jeremiah in Michelangelo's Genesis mural. In fact, many images here, with strong physique and powerful movements, are related to Michelangelo's artistic image. More interestingly, Plato's head is modeled after Leonardo da Vinci's, which shows Raphael's reverence for these two great artists. The color treatment of this painting is also very harmonious. The architectural background is all ivory marble structure, and the costumes of the characters are interwoven with red, white, yellow, purple and ochre. The perspective method has a high level, which not only enhances the sense of space of the picture, but also makes the pattern of the ground and the geometric decoration structure of the vault accurate enough to be calculated mathematically. This is an ideal and beautiful world, where people and space are completely unified, the combination of characters is orderly and orderly, and everyone's behavior and posture are in line with their identity characteristics, maintaining vivid changes in a harmonious overall height. Painters create clear and beautiful characters with smooth lines and precise light and shade, showing the ideal meaning in reality. Edit this paragraph | Return to the top of the page Raphael Sanzio-works evaluation Raphael's works fully embody peace, harmony, coordination, symmetry and perfect and quiet order-in this sense, his works can indeed be called "the pinnacle of humanism and the Renaissance world". What people often forget or ignore is that Raphael reached the peak in the center of history, in a series of major events and some ideological trend that only lasted for a short time. The creator of this miracle is a young man, and this young man can't compete with the two greatest masters-Da Vinci and Michelangelo. These three people live in the same era. Raphael found the "third way", which is a synthesis and transcendence of all artistic achievements of his time. This is Raphael's glory and historical role through unremitting examination, experience and thinking with his art and thought, hard work and rationality. His success is attributed to his extraordinary talent: refining and digesting any kind of inspiration and enlightenment from the lofty revolutionary era of art (from the end of 15 to the beginning of 16). This shows his great wisdom and superb harmony creation. This ability is really unusual.