He had been working on his largest painting on canvas, The Transfiguration (commissioned in 1517), at the time of his death. Selbstporträt Raffaels, 1506, Uffizien Mit nur 37 produktiven und leidenschaftlichen Jahren war Raffael Teil der Malerei auf ihrem Höhepunkt in der italienischen Hochrenaissance. [54] According to Marcantonio Michiel, Raphael's "youthful death saddened men of letters because he was not able to furnish the description and the painting of ancient Rome that he was making, which was very beautiful". He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". He was one of the last artists to use metalpoint (literally a sharp pointed piece of silver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. [51] In 1515, he was given powers as Prefect over all antiquities unearthed within, or a mile outside the city. [88] He was made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur. The façade was an unusually richly decorated one for the period, including both painted panels on the top story (of three), and much sculpture on the middle one. He was one of the major figures of the High Renaissance. By closely studying the details of their work, Raphael managed to develop an even more intricate and expressive personal style than was evident in his earlier paintings. But he keeps the soft clear light of Perugino in his paintings. He also designed Rome’s Santa Maria del Popolo Chapel and an area within Saint Peter’s new basilica. Biographer Giorgio Vasari indicated that Raphael was later engaged to a niece of a friend who was a cardinal, but Raphael continuously put off the wedding. Urbino had become a centre of culture during the rule of Duke Federico da Montefeltro, who encouraged the arts and attracted the visits of men of outstanding talent, including Donato Bramante, Piero della Francesca, and Leon Battista Alberti, to his court. Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. Raphael was born Raffaello Sanzio on April 6, 1483, in Urbino, Italy. Judgement of Paris, still influencing Manet, who used the seated group in his most famous work. [58] For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the Triumph of Galatea and designed further decorative frescoes for his Villa Farnesina, a chapel in the church of Santa Maria della Pace and mosaics in the funerary chapel in Santa Maria del Popolo. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. The apprenticeship lasted four years and provided Raphael with the opportunity to gain both knowledge and hands-on experience. Raffaello Sanzio da Urbino, genannt Raffael (1483–1520, auch: Raphael, Raffaello Santi, Raffaello Sanzio) gehört zu den wichtigsten Künstlern der europäischen Kunstgeschichte. Jones & Penny:235–246, though the relationship of Raphael to Mannerism, like the definition of Mannerism itself, is much debated. He produced a design from which the final construction plans were completed by Antonio da Sangallo the Younger. Although he had learned much from Perugino, Raphael by late 1504 needed other models to work from; it is clear that his desire for knowledge was driving him to look beyond Perugia. [55] Raphael intended to make an archaeological map of ancient Rome but this was never executed. [79] In his final years he was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes.[80]. The portrait of Raphael is probably "a later adaptation of the one likeness which all agree on": that in, contrasting him with Leonardo and Michelangelo in this respect. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region,[9] where his father Giovanni Santi was court painter to the Duke. [18] Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Another of Leonardo's compositional inventions, the pyramidal Holy Family, was repeated in a series of works that remain among his most famous easel paintings. His perfection of form and technique is held up as an ideal for other painters, and he has become known as the “Prince of Painters.” [27], The Mond Crucifixion, 1502–3, very much in the style of Perugino (National Gallery), The Coronation of the Virgin 1502–3 (Pinacoteca Vaticana), The Wedding of the Virgin, Raphael's most sophisticated altarpiece of this period (Pinacoteca di Brera), Saint George and the Dragon, a small work (29 x 21 cm) for the court of Urbino (Louvre), Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. [50], In about 1510, Raphael was asked by Bramante to judge contemporary copies of Laocoön and His Sons. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation by his partner. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. [66] This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond. It is possible that Raphael saw the finished series before his death—they were probably completed in 1520. Raphael is best known for his Madonnas and for his large figure compositions in … Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. They give a highly idealised depiction of the forms represented, and the compositions, though very carefully conceived in drawings, achieve "sprezzatura", a term invented by his friend Castiglione, who defined it as "a certain nonchalance which conceals all artistry and makes whatever one says or does seem uncontrived and effortless ...". It seems all façades were to have a giant order of pilasters rising at least two storeys to the full height of the piano nobile, "a grandiloquent feature unprecedented in private palace design". Joannides stated that "Raphael died of over-work.". In the years to come, Raphael painted an additional fresco cycle for the Vatican, located in the Stanza d'Eliodoro ("Room of Heliodorus"), featuring The Expulsion of Heliodorus, The Miracle of Bolsena, The Repulse of Attila from Rome and The Liberation of Saint Peter.