Rafael Santi's dances. "dispute"

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Raphael Santi - one of the geniuses of the Renaissance. Having lived only 37 years (1483-1520), he left a rich graphic and architectural heritage, incommensurable with such a short creative activity. The remarkable talent of the master opened for him the opportunity to receive an order for the fresco painting of the Papal Palace. The most outstanding works from this cycle by Raphael Santi are "Dispute", "Parnassus" and "The School of Athens". They are recognized as masterpieces, a benchmark for many subsequent generations of artists and admire their perfection to this day. These frescoes became the best part of the complex of murals that filled the walls of the four rooms of the Apostolic Palace and received the name "Raphael's Stanza".

Multi-talented

The future great master was born in the family of Giovanni Santi, a court poet and artist who served the Duke of Urbino, and from an early age was involved in the world of painting, drawing, geometric measurements. Santi was eight years old when his mother died. Perhaps the artist embodied his love for her in all subsequent years, depicting his Madonnas. It is the Mother of God of Raphael that reflects a certain childish purity and radiates an extraordinarytenderness, inherent only in motherly love. The "Sistine Madonna" will eventually become the pinnacle and glory of his skill.

When Rafael was only 10-11 years old, his father died. From him, the boy managed to get the first knowledge and, being orphaned, continued his studies in the workshops of Pietro Perugino, where he studied the science of the Umbrian art school. Until the end of the Renaissance period, there was no narrow division into painters, sculptors, architects, engravers. All these specializations, often several others, were united by the artist. So Rafael received a thorough education in the field of fine and engraving art, as well as architecture, which implies a deep knowledge of mathematics, geometry, the ability to calculate a drawing and build an accurate perspective. This is especially noticeable in the frescoes of Raphael, which create the impression of volume not only with a successful light and shade, but especially with a geometric perspective.

Road to the Vatican

From 1504 to 1508, Raphael, after his native Urbino, worked in Florence, where he met with the greatest masters. Among them were da Vinci and Michelangelo, who were working in the city at that time. The young artist carefully studies their technique, improves in anatomical drawing, perspective building, architectural and geometric calculations. His talent attracts attention, Raphael's popularity is growing rapidly, and he receives multiple commissions to depict saints, especially the Madonnas. In 1507, here in Florence, Raphael met his countryman and all-powerful papal architectBramante. A year later, the young talented artist moves to Rome, where he acquires the patronage and mentorship of the brilliant Bramante, under whose patronage he immediately receives an order from Pope Julius II for fresco painting of rooms (stanzas) in the Apostolic Palace of the Vatican.

Stants

Since the new Pope did not want to use the premises where Alexander VI (Borgia) lived before him, apartments in another part of the palace were reconstructed for Julius II. In one of the rooms, 25-year-old Santi Rafael was entrusted with the plot painting of four walls. A relatively small (6 by 10 meters) room was called "stanza della Senyatura" or "Signature Hall", it was intended for the papal study and his personal library.

As far as art historians know, Raphael had never painted frescoes and such multi-figure works before. His largest works were altar cloths and cardboards. Here it was also necessary to organize a huge (500 × 770 cm) wall space, with a semicircular top, dictated by the arched shape of the vault. The artist created four ingenious, perfectly balanced compositions.

It was required to reproduce four allegorical images of intellectual and spiritual activity: philosophy, theology, poetry and music, law. The work lasted for about three years (1508-1511), and the first of the frescoes was created by Rafael Santi "Dispute", embodying theology. This was followed by the plots "Parnassus", "Virtue and Law", "The School of Athens". The still unfinished works pleased Julius II so much that heinstructed the artist to paint the next three stations (rooms), approximately the same area. Work in them was completed only in 1517, three years before the death of the artist. These four rooms later became known as "Raphael's Stations".

Plot description "Disputes"

Raphael Santi depicted a story whose full title translates as "Debating the Sacrament". On both sides of the throne with the monstrance, two groups are located: closer to the middle are the fathers of the Church, who once influenced the establishment of dogmas, then there are popes and cardinals, theologians, thinkers, believers, young men full of religious awe. Some consult the Bible and other Christian primary sources, some argue or talk, others listen, filled with reverence, or immersed in thought. One of the church patriarchs dictates something to the scribe. This venerable assembly decides on the ceremony of the celebration of the Eucharist (Holy Communion among Catholics), the source and pinnacle of the Christian life. Such is the image in Rafael Santi's "Disputation" of earthly action, over which he placed the heavenly scene.

Jesus sits above the altar in rays of light. On his right hand is the Blessed Virgin, and on his left is John the Baptist. On both sides of them, the apostles Paul and Peter, revered Italian saints Anthony of Padua and Francis of Assisi, biblical characters: Moses, Adam, James and others are located on the clouds. Archangels hover above them. At the feet of Christthe Holy Spirit descends to the monstrance. God the Father rises above the main trinity, holding a sphere with one hand, He blesses the action taking place on earth with the other, thereby guaranteeing the presence of higher powers in the sacrament of the Church.

Portrait of Dante

Among the nameless figures, Raphael's fresco contains images of several recognizable faces. In this sacrament, Santi depicted Sixtus IV, the uncle of the reigning pope. In ceremonial attire, he stands at full height immediately behind the scribe, on the right side of the throne (from the point of view of the viewer). Behind him is an impressive profile of Dante Alighieri, dressed in red and crowned with a laurel wreath. He is in the crowd, slightly lower than the Pope, only his head and shoulder are visible. This combination of two figures was created by Raphael for a reason. A progressive thinker, poet, theologian and politician of the late Middle Ages, Dante Alighieri, through his works, had a significant impact on the formation of Renaissance humanism, as well as the cultural and philosophical spheres. The obscuring figure of Sixtus IV with an open hand extended forward indicates his patronage and protection of the arts, sciences and philosophy.

Portraits of other historical figures

Four great fathers and the first Latin teachers of the Church are located at the very altar on both sides. On the left, with books in their hands, Pope Gregory I and Saint Jerome, creator of the Latin canonical Bible. On the right - the most influential preacher and theologian Augustine the Blessed and Bishop Ambrose of Milan.

In "Dispute" Rafael Santi displayed moreseveral recognizable portraits - the Italian monk-reformer Savonarola and Julius II, who at that time ruled the Pope. At the left edge of the fresco, Raphael's teacher and patron, the great architect of the High Renaissance, Donato Bramante, is painted. Leaning on the railing, he holds a book and looks over his shoulder at a young man with very feminine features, similar to many Raphael Madonnas. Who knows, maybe Santi portrayed his mother again in this way?

Technique, composition and perspective "Disputes" are excellent and could be considered unsurpassed. However, it is not. Rafael himself has outdone himself. On the opposite wall is another plot that embodied philosophy - "The School of Athens". This fresco, the most complex in composition and perspective building, with its deep content, is full of inspiring power, and is rightfully considered a world masterpiece.