The High Renaissance in Italy
The High Renaissance in Italy
At the end of the fifteenth century most of the goals toward which Italian painters and sculptors had long been striving had been achieved. As a result, Italian artists produced works that represented nature and the human form more faithfully than in previous centuries. In painting, the lineage of accomplishments from the time of Cimabue and Giotto to Masaccio had established techniques for rendering space in ways that appeared three-dimensional. And in Florence and elsewhere throughout Italy fifteenth-century artists had continued to master the techniques of chiaroscuro (the painting of light and shade that gave solidity and weight to pictures) and sfumato (the rendering of atmosphere). In sculpture, the fifteenth century had been one of undeniable achievement, from Ghiberti's doors of the Baptistery at Florence to the bronze and stone carvings of Donatello, Lucca della Robbia, and others. The early Renaissance had also witnessed a revival of knowledge about the art of classical Antiquity, as Brunelleschi, Alberti, and others had studied and begun to apply the proportions and conventions of ancient Roman art. Now at the end of the fifteenth century the results of this research and of the techniques generations of artists had perfected gave rise to a great flowering of art known as the High Renaissance. This period, which lasted until about 1520, was a brief, but undeniably profound period of artistic achievement. Three great artistic geniuses dominated the style of the High Renaissance: Leonardo da Vinci, Michelangelo Buonarroti, and Raphael Sanzio. Each earned recognition during his lifetime as an enormously gifted creator, whose works were sought after by kings, princes, and popes. As a result of the achievements of the period, the status of the artist continued to rise in Italian society, and the ability to create art came to be seen among intellectuals as a divinely inspired attribute. The High Renaissance in art coincided with the popularity of Neoplatonic philosophy in Florence, Rome, and the other humanist centers throughout Italy. Neoplatonism taught that creativity was a sign of humankind's creation in God's likeness. The Neoplatonic philosophers Marsilio Ficino and Giovanni Pico della Mirandola originally identified this spark of divine creativity with literary achievements, particularly with poetry. But the artists of the High Renaissance came to be influenced by these ideas. Michelangelo, a student of Neoplatonism in his youth, was particularly quick to point to his achievements in sculpture and painting as the products of divine inspiration. Many patrons agreed, and the notion of the artist as a figure filled with an almost superhuman ability to create became one of the underlying themes of the age.
The High Renaissance, the period of Italy's greatest artistic achievement and productivity, coincided with tensions on the peninsula's political scene. During the course of the fifteenth century despots dominated many of Italy's small states, while the larger powers in the peninsula conquered many smaller territories. By 1500, five great powers—Milan, Florence, the papacy, Venice, and Naples—overshadowed the smaller territories throughout Italy. Constantly shifting alliances and treacherous diplomatic dealings became the rule between these great states, none of which was powerful enough to subdue the others. This lack of political unity, as well as diplomatic treachery, left open the door for outside invasion. In 1494, France became the first major European power to seek conquests in Italy, and this French invasion touched off a long series of conflicts that became known as the Italian Wars (1494–1530). Eventually every major European power became involved in these wars, as European dynasties tried to press ancient feudal claims to rule parts of Italy. Thus Italy's period of greatest cultural achievement occurred simultaneously with a dismal period of warfare.
Born the earliest of the three giants, Leonardo da Vinci (1452–1519) was a remarkable and unusual man. Unlike other artists of the time, da Vinci completely rejected ancient Roman models for his art and instead painted in a natural style. He was born the son of a notary and a peasant woman. Eventually, his father built a prosperous career, and in his youth da Vinci became an apprentice to the Florentine artist Verrocchio. He earned early recognition as a painter, but da Vinci's restless genius led him to practice sculpture, architecture, in addition to his studies in mechanics and design. While none of the artist's buildings was ever constructed, he was widely recognized as a master of invention and problem solving. The lifelong Notebooks that he kept included designs for an amazing number of machines, including an early vision of the helicopter. At times da Vinci worked as a military engineer, designing battlements and siege machines for his clients, which included the despot Cesare Borgia, the dukes of Milan, and the Republic of Florence. Although he was a man of little formal schooling, da Vinci embodied the Renaissance concept of the "universal man." Besides these many achievements, the artist also wrote music, experimented in physics, and was a student of botany, geography, optics, anatomy, and geology.
introduction: In his famous Lives of the Most Eminent Painters, Sculptors, and Architects, the biographer Giorgio Vasari stressed the inventiveness and skill that Leonardo da Vinci displayed from an early age.
Truly admirable, indeed, and divinely endowed was Leonardo da Vinci; this artist was the son of Ser Piero da Vinci; he would without doubt have made great progress in learning and knowledge of the sciences, had he not been so versatile and changeful, but the instability of his character caused him to undertake many things which having commenced he afterwards abandoned. In arithmetic, for example, he made such rapid progress in the short time during which he gave his attention to it, that he often confounded the master who was teaching him, by the perpetual doubts he started, and by the difficulty of the questions he proposed. He also commenced the study of music, and resolved to acquire the art of playing the lute, when, being by nature of an exalted imagination and full of the most graceful vivacity, he sang to that instrument most divinely, improvising at once the verses and the music …
Leonardo, with his profound intelligence of art, commenced various undertakings, many of which he never completed, because it appeared to him that the hand could never give its due perfection to the object or purpose which he had in his thoughts, or beheld in his imagination; seeing that in his mind he frequently formed the idea of some difficult enterprise, so subtle and so wonderful that, by means of hands, however excellent or able, the full reality could never be worthily executed and entirely realized. His conceptions were varied to infinity; philosophizing over natural objects; among others, he set himself to investigate the properties of plants, to make observations on the heavenly bodies, to follow the movements of the planets, the variations of the moon, and the course of the sun.
Having been placed then by Ser Piero in his childhood with Andrea Verrocchio, as we have said, to learn the art of the painter, that master was engaged on a picture the subject of which was San Giovanni baptizing Jesus Christ; in this Leonardo painted an angel holding some vestments; and although he was but a youth, he completed that figure in such a manner that the angel of Leonardo was much better than the portion executed by his master, which caused the latter never to touch colours more, so much was he displeased to find that a mere child could do more than himself.
source: Giorgio Vasari, Lives of Seventy of the Most Eminent Painters, Sculptors, and Architects, Vol. 2. Trans. and Eds. E. H., E. W. Blashfield, and A. A. Hopkins (New York: Scribner, 1902): 371 and 376.
After completing his training in Florence, da Vinci's first independent commission seems to have been the Adoration of the Magi, a composition undertaken for a monastery for Florence. This work, like many of Leonardo's, was left unfinished when the artist left for Milan two years later, but it shows a highly adventurous use of organizational techniques. In the foreground of the panel the Virgin and three kings worship the Christ child, while around them a great circular group of onlookers forms an arch in the background. In this, the first of his mature masterpieces, Leonardo displays his fascination with facial expressions and with balance and harmony. In 1483, the artist traveled to Milan to paint his Virgin of the Rocks for a local confraternity, a work long admired for the sweetness of expression on its subjects' faces. It shows the Virgin Mary raising her hand to protect the Christ child, who confers a blessing on the kneeling figure of the infant John the Baptist. An angel, otherworldly in its extreme beauty, points to John the Baptist. The entire drama appears before a mysterious crag-filled landscape that is illuminated by two different sources of light, one in the distance and another that throws an ethereal glimmer upon the faces of the subjects in the foreground. While at work in Milan, Leonardo offered his services to Lodovico Sforza, a despot who had recently seized control of the Duchy of Milan. Sforza sat at the head of a cultivated court, and da Vinci fulfilled many roles within the ducal household. He decorated the Sforza apartments, provided stage sets and costumes for many theatrical productions, and painted portraits of members of the court. During this period the artist completed a number of his most famous portraits, including the Portrait of a Lady with an Ermine, the Portrait of a Musician, and the Portrait of a Woman in Profile. The largest and most important project of these years in Milan, though, was his Last Supper, a commission undertaken for the refectory or dining hall of the monastery of Santa Maria delle Grazie. Leonardo da Vinci's plan for the picture was innovative. He divided the group of twelve disciples into four groups of three and through the eyes of these characters and their subtle gestures and facial expressions he endowed these actors with a kind of superhuman grandeur. Through a skillful use of perspective, too, the artist expanded the space of the refectory illusionistically so that the room appeared to be much larger. Da Vinci's Last Supper set a new idealized standard for artists hoping to visualize religious themes. Sadly, the artist also experimented with the use of a new technique of painting and the work began to decay almost as soon as it was finished. Over the centuries it has been badly treated as well at the hands of restorers. Still some of the work's grace and beauty has survived over the years. The invasion of Milan at the hands of the French and the expulsion of Lodovico Sforza, however, cut Leonardo's time in the city short, and in 1499 the artist fled first to Venice and later returned to Florence.
Florence and Later Years.
Upon his return to the city where he had been trained, da Vinci was offered a number of commissions, although at first he completed only studies for these projects. In 1502, the notorious general and despot Cesare Borgia, illegitimate son of Pope Alexander VI, offered Leonardo employment as an architect and engineer. At the request of his patron da Vinci traveled through central Italy, making plans for siege engines, model cities, and battlements. He returned to Florence in 1503, and received a commission to paint a fresco for the Chamber of the Republic, a meeting room in Florence's Palazzo Vecchio or town hall. The subject was the Battle of Anghiara, a fifteenth-century Florentine military triumph. Again Leonardo relied on experimental methods, and the commission had to be abandoned prior to its completion. Around this time the artist also painted his most famous work, the Mona Lisa, a portrait of the wife of a wealthy Florentine. As a portraitist, da Vinci produced notable works. In contrast to the rigid profile portraits of many fifteenth-century artists, da Vinci painted his subjects in relaxed positions. The Mona Lisa sits calmly before a rich and mysterious landscape, one in which the artist has made great use of the technique of sfumato or atmospheric painting. The Mona Lisa is one of the only surviving later works from da Vinci's hand. He did not complete most of the painting projects he began in the years after 1508. Two notable exceptions were the artist's Saint John the Baptist, which da Vinci completed during his second residency in Milan between 1508 and 1513, and his Virgin and Child with Saint Anne, a work begun in 1508, but not finished until many years later when the artist was in Rome. In these later years Leonardo devoted himself to scientific studies rather than to painting, the record of which are to be found in his voluminous Notebooks. In 1516, King Francis I invited him to France to work at the French court. He received a country château and a wide range of projects to complete, including set designs for courtly theatrical productions and plans for a new royal palace. But like so many of the projects he undertook, this last project was never completed.
Da Vinci was never satisfied with being merely an artistic craftsman. In contrast to the artists of the fifteenth century he presented himself as an individual on an intensely personal quest for self-expression in his art. Even art, though, was an insufficient taskmaster for Leonardo, who followed many professions simultaneously. This is evident in his Notebooks. Leonardo considered himself a painter, and he argued that painting was a science because it proceeded from empirical observation and was based upon the mathematical laws of perspective. At the same time he worked as an engineer, a designer, a writer, a draftsman, builder, anatomist, and contemplative theologian. He was particularly well versed in the arts of war (including the construction of siege machines, defensive battlements, and so forth), and he earned far more from these skills than he did from his art. In his Notebooks Leonardo frequently argues that he is not a learned man in the ways of the humanists or scholastics, but that his experience makes him superior to those who have much book learning. His statements often attack the pretentiousness of scholars. Instead he argues that painters practice skills that are superior to other crafts because they rely upon their eyes and are masters of observation. This aspect of Leonardo's thought—the value of empirical observation—always shows through in his paintings. He realized that the eyes took in images through a haze produced by dust and humidity in the air, and he relied on sfumato (the painting of filmy atmosphere) to demonstrate this in his work. Da Vinci also painted the horizons in his pictures so that they sloped—recognition that the earth was round. Leonardo often remarked in his writings that mortal beauty was ephemeral. While it faded and disappeared, the artist's contribution was to make beauty eternal: "A beautiful object that is mortal passes away, but not so with art." Further, art is a window on the human soul that stirs the senses and provides human beings with a vision of eternal beauty. In contrast to the devotion that scholars evidenced to texts in the Renaissance, da Vinci's emphasis on observation and experimentation was an innovation. While contemporary humanists advocated literary studies and rhetoric as the best way to establish truth, da Vinci insisted instead that the eyes were the most important arbiters of proof. His attitude was forward looking. It had more in common with the Empiricism of seventeenth-century scientists like Descartes, Bacon, and Newton, than it did with the textual attitudes toward truth that were embraced by fifteenth-century intellectuals.
The second undisputed genius of the High Renaissance in Italy was Michelangelo Buonarroti (1475–1564). Like Leonardo da Vinci, Michelangelo also strove to develop himself as a "universal man" of the Renaissance. He was interested in a vast array of fields and became an expert on human anatomy and engineering, besides practicing the arts of painting, sculpture, and architecture. Michelangelo also became a poet whose sonnets are notable for their intensity and beauty of expression. His personality, though, differed strikingly from Leonardo da Vinci. Where Leonardo was passionately interested in nature and rarely discussed God or religious issues in his writings, Michelangelo was intensely religious and received inspiration from a deep sense of his own personal unworthiness and of his sinful nature. In his art Michelangelo often sought to give expression to his search for divine love. Both men left many of their compositions unfinished at their deaths. For Leonardo, his reluctance to finish projects was a by-product of his perfectionism and his realization that his completed compositions rarely matched the ideal beauty of his internal vision. Michelangelo, on the other hand, was driven by a powerful desire to create, and he often neglected his own health and appetites to devote more time to work on his commissions. His patrons frequently moved him from project to project, which prevented him from finishing works he had already begun.
Michelangelo was born the son of a minor Florentine official who was stationed at Caprese, a small Tuscan town subject to Florence. When he was only a few months old, Michelangelo returned to Florence with his family following the completion of his father's term of office. They settled in the small suburb of Settignano, just outside the city, and here Michelangelo learned his first lessons in stone carving when he was just a boy. When he was thirteen, he became an apprentice to the Florentine artist Domenico Ghirlandaio, who ran a large and successful studio. Later he studied sculpture with Bertoldo di Giovanni, a local sculptor who had been a student of the great artist Donatello. Michelangelo never completed the terms of his apprenticeship, but thanks to his father's good offices he gained entrance to the Medici family circle, where he studied the family's large collection of ancient sculptures. Within the Medici circle he also became associated with Marsilio Ficino, Angelo Poliziano, Giovanni Pico della Mirandola, and other Florentine humanists. At this time Neoplatonism was the intellectual vogue of the city, and during the two years that Michelangelo spent as a member of the Medici household between 1490 and 1492, he received the foundations of a humanist training. Although he never became fluent in Latin, his time with the Medici familiarized him with the major intellectual disputes and issues of the age. He also acquired his love for the verse of Dante and Petrarch, and throughout his life, Michelangelo continued to write sonnets and other verse, despite his punishing load of artistic commissions. The desire for social status and distinction also motivated Michelangelo. Throughout his life he was convinced that his family was descended from an ancient line of Italian nobility. Michelangelo adopted the dress and behavior of a nobleman, and through his artistic successes he tried to enhance his family's social position.
The artist's first stunning successes came in the field of sculpture, and throughout his life, Michelangelo felt most at home in this medium. His first masterpiece was the Pietà, an image of the dead Christ resting upon the lap of his mother. Michelangelo created the statue for the French cardinal Jean Villiers during his first period of residence in Rome (1496–1501). Michelangelo carved the Pietà from a single block of marble, and the work was immediately recognized for its extreme delicacy and accomplished technique. In his subsequent sculptures Michelangelo adopted a more powerful and heroic style, as for example in his famous David completed in 1504. For almost a century the Old Testament figure of David had been a symbol of the Republic of Florence. The imagery of the biblical story of the tiny David victorious against Goliath had been seen as a metaphor of Italian politics. Florence, a small state, had flourished in an Italy dominated by Goliaths. Many Florentine artists had created works that immortalized the youthful figure as a symbol of their city. Michelangelo's work, too, had its own fascinating history. The marble out of which it was crafted had been quarried in the 1460s for the sculptor Donatello and had been partially worked. Following Donatello's death, though, it had lain unused for more than forty years. Most sculptors insisted that the block of stone had a flaw that rendered it unusable. After examining it Michelangelo devised a plan for carving a figure from the stone. In comparison with the serene and youthful David that Donatello had cast in bronze in the first half of the fifteenth century, Michelangelo's biblical colossus is no longer a child, but a youthful, heavily muscled adolescent with oversized hands and feet. He stands assured, yet alert with every sinew and muscle in his body ready to do battle. A close examination of the statue shows that it is the product of the artist's studies of anatomy since the muscles and veins of the work are closely modeled upon human models. The work was originally intended for a prominent position atop the Palazzo Vecchio, the town hall, in Florence and was accordingly more than fourteen feet high. It was immediately hailed as a masterpiece, the greatest freestanding sculpture completed since Antiquity. As a consequence Florence's town fathers gave it a position of honor in front of the town hall so that it could be admired more closely. In the nineteenth century the city placed a copy there and moved the original indoors to the Galleria dell' Accademia, a museum of Tuscan sculpture.
Both the Pietà and the David established Michelangelo's reputation as an artistic genius, and from this point until his death he received numerous commissions, both in Florence and Rome, the two developing centers of High Renaissance style. In 1505, Pope Julius II (r. 1503–1513) called Michelangelo to Rome to undertake a massive project, the building of an enormous tomb. This project consumed the artist's attention off and on for over forty years and was complicated by the complex relationship between pope and artist, both of whom were extremely strong-minded personalities. As it was originally conceived in 1505, the tomb was to include more than 40 statues, although when finished four decades later, only three statues were completed. In 1505, Michelangelo set to work on the project immediately. He left Rome to supervise personally the quarrying of the marble for the project. Soon after his departure, Julius' ardor for the tomb cooled, and when Michelangelo returned some months later, the pope had turned to his plans to rebuild St. Peter's Basilica in Rome, a building that was at the time more than a thousand years old. Displeased with the pope's plans to abandon the tomb project, Michelangelo left Rome for Bologna; the two reconciled months later, after the artist asked the pope's forgiveness. Julius lured him back to Rome, and in 1508, he gave Michelangelo the contract for perhaps his most famous work: the Sistine Chapel ceiling. Until this point, most of the artist's most important commissions had been sculptures. The Sistine ceiling was a project to which the artist was by training and inclination ill-suited. But like so many other projects that Michelangelo undertook, he rose to the occasion once he had set his mind to the task.
The Sistine Chapel, named after Pope Sixtus IV who had it built between 1473–1484, was the private chapel of the popes, and has long been the place in which the College of Cardinals elects new popes. Soon after its completion the artists Domenico Ghirlandaio, Cosimo Roselli, Perugino, and Sandro Botticelli decorated the chapel's sidewalls. In the early sixteenth century the ceiling, which was more than 60 feet high, was still bare plaster. To undertake this project, Michelangelo planned a grand design that mixed decorative elements from Antiquity and the Bible. The major scenes in the center of the ceiling are from Genesis and are framed with alternating images of the ancient Cumaean sibyls and the Old Testament prophets. The narrative Michelangelo created begins with the Creation of the World and of Man and Woman and progresses through the events in the Garden of Eden. The program culminates with the story of the Flood. Michelangelo painted these scenes in reverse order, and after completing the first two scenes he adjusted the scale on which he painted them to take account of the enormous size of the room. As he progressed, his compositions grew simpler and more monumental so that they could be viewed more easily from the floor. The artist also filled the later images with dramatic and swirling elements to suggest movement. Painted over a span of less than four years, the result was one of the wonders of the age, a creation that since the sixteenth century has never ceased to instill admiration in its observers. In Michelangelo's time his Sistine Chapel frescoes were a perennial source of inspiration for other artists, who relied upon the work for elements of design in similar decorative cycles and who tried to imitate the heroic and idealized forms that he created on the ceiling. A long-term campaign of restoration undertaken during the 1980s returned the paintings to their sixteenth-century brilliance and allowed observers to view the works minus centuries of accumulated dirt and soot. This restoration also revealed that Michelangelo used a vibrant, and sometimes even garish color palette to create the frescoes. These dramatic colors were yet another feature that Michelangelo's imitators focused on when trying to imitate the style of this great sixteenth-century master.
In the wake of the Sistine Chapel ceiling Michelangelo returned for a time to his first love, sculpture. In 1515 he completed the grand Moses, a work in his ongoing tomb project for the now deceased Pope Julius II. Here, as in the Sistine frescoes, Michelangelo presented a higher vision of reality, an image of the biblical prophet that is distinguished by his fiercesome power and the statue's vigorous and piercing gaze. Like Leonardo da Vinci, Michelangelo's High Renaissance style presented an idealized and higher vision of reality. Yet unlike the often placid and cerebral quality of da Vinci's art, Michelangelo's works suggested movement, heroism, and dramatic intensity, qualities that his contemporaries widely emulated. The longest-lived of all the great High Renaissance masters, Michelangelo experimented with new styles in the years after 1520. His later art, significantly different from his early sixteenth-century works, helped to supplant the idealized artistic synthesis of the High Renaissance, and to give rise to yet a new creative artistic movement known as Mannerism.
ESPIONAGE AND INTRIGUE
introduction: Creative differences between Michelangelo and his patron, Pope Julius II, often erupted into colossal misunderstandings. Such was the case during the time in which Michelangelo worked on the Sistine Chapel ceiling. During one of their disagreements, Michelangelo fled Rome and returned to Florence. According to the biographer Vasari, the architect Donato Bramante used this occasion to show Michelangelo's work secretly to Raphael. Vasari thus explained a change that occurred in Raphael's later style, as the artist added more drama and monumentality to his work. These attributes, Vasari alleged, came directly from the artist's imitation of Michelangelo.
Raphael had at this time acquired much fame in Rome, but although he had the graceful manner which was held by every one to be most beautiful, and saw continually before his eyes the numerous antiquities to be found in that city, and which he studied continually, he had, nevertheless, not yet given to his figures that grandeur and majesty which he always did impart to them from that time forward. For it happened at the period to which we now refer, that Michelangelo, as we shall furthermore set forth in his life, had made such clamours in the Sistine Chapel, and given the Pope such alarms, that he was compelled to take flight and sought refuge in Florence. Whereupon Bramante, having the key of the chapel, and being the friend of Raphael, permitted him to see it, to the end that he might understand Michelangelo's modes of proceeding. The sight thus afforded to him caused Raphael instantly to paint anew the figure of the prophet Isaiah, which he had executed in the Church of Sant'Agostino, above the Sant'Anna of Andrea Sansovino, although he had entirely finished it; and in this work he profited to so great an extent by what he had seen in the works of Michelangelo, that his manner was thereby inexpressibly ameliorated and enlarged, receiving thenceforth an obvious increase of majesty.
But when Michelangelo afterwards saw the work of Raphael, he thought as was the truth that Bramante had committed the wrong to himself of which we have here spoken, for the purpose of serving Raphael, and enhancing the glory of that master's name.
source: Giorgio Vasari, Lives of Seventy of the Most Eminent Painters, Sculptors, and Architects, Vol. 3. Trans. and Ed. E. H., E. W. Blashfield, and A. A. Hopkins. (New York: Scribner, 1896): 161–162.
In place of the serenity of da Vinci or the intense heroism of Michelangelo, the third great master of the High Renaissance, Raffaelo Sanzio (1483–1520) (or Raphael, as he is known in English) gave expression to a harmonious and balanced vision in the High Renaissance. Raphael was born in the northern Italian town of Urbino, the son of a painter. Initially trained by his father, the young Raphael became a member of the studio of the Central Italian artist Perugino at Perugia. Always able to adapt and learn from other artists, Raphael soon mastered Perugino's sweet and lyrical style with such excellence that contemporaries were frequently unable to distinguish whether a work from Perugino's studio came from the hand of the master or of his student. As his reputation grew, he received commissions from the duke of his native Urbino before moving on to Florence around 1504. There Raphael studied the High Renaissance style of Leonardo and Michelangelo, who were both in Florence at the time. Both these elder artists were now highly successful figures who served the city of Florence and other princely patrons. The price of their commissions had outstripped the means of most wealthy Florentines. Raphael soon filled a gap in the local art market by producing works in the High Renaissance style for the town's merchants and noble families. During his three years in Florence the artist successfully executed a large number of commissions, including his famous Madonna of the Meadows. That work shows the influence that Raphael derived from Leonardo. Its composition is dominated by a pyramidal grouping of Madonna, Christ child, and John the Baptist in a way similar to Leonardo's Madonna and St. Anne. At the same time Raphael's work has none of the mysterious chiaroscuro of Leonardo's. It shines with brilliant, gemlike colors. Nor does Raphael reveal much interest here in anatomical studies, a chief concern of both Leonardo and Michelangelo. Instead the artist demonstrates a love of harmony and balance through his counter-poising of oval and circular shapes throughout the picture.
In 1508 Raphael traveled to Rome to work for Pope Julius II. The artist remained there for the rest of his life, painting commissions for the popes and members of the church's government. The first project that the artist undertook in Rome was a series of frescoes for the papal apartments, which happened to coincide with Michelangelo's work on the Sistine Chapel ceiling. As Raphael worked on his frescoes in the nearby apartments, his compositions acquired a more monumental scale suitable to the grand environment in which he was working. The School of Athens is typical of the refinement and monumental character of these works. In this work Raphael depicts the ancient Greek philosophers Plato and Aristotle as well as members of the intellectual elite of Greece. To link the past and present he depicted many of these figures as contemporary members on the Roman scene, so that his Plato is a portrait of Leonardo da Vinci and his ancient Heraclitus of Michelangelo. The entire composition is set, too, before an architectural backdrop that bears resemblance to the plans for the new St. Peter's Basilica that was just beginning to take shape around the time that Raphael painted his work. For the recognized successes that he achieved in frescoing the papal apartments Raphael was richly rewarded with other commissions. During the five years before his premature death in 1520, the artist served as architect on a number of projects under construction in Rome at the time, including the new St. Peter's Basilica. He also served Pope Leo X, a member of the Medici family, as a supervisor of Roman antiquities. He completed a major decorative cycle for the Villa Farnesina, a palace that overhung the Tiber River in Rome and which was being built by Agostino Chigi, then the pope's banker. For this project Raphael and his assistants painted a large number of rooms in a style that imitated classical Roman frescoes. The subject matter of the Farnesina frescoes was entirely drawn from pagan Antiquity, and unlike many earlier uses of pagan mythology, they were devoid of Christian moralizing. One of the most famous paintings that Raphael completed for this project was the Galatea, in which the ancient pagan figure rides on the waves atop a scallop shell, while cupids try to stir her passion for the Cyclops by shooting love arrows at her. In this painting Raphael shows the influences that he derived from observing the art of Michelangelo. The figures in the fresco writhe with a greater heroic tension and movement than in the more placid works of just a few years before. They are now heavily muscled, and their bodies resemble the marble-like creations of Michelangelo's Sistine ceiling frescoes. In these and other works in the Villa Farnesina Raphael brought the synthesis between classical Antiquity and High Renaissance style to its highest level of achievement. In one of his last great masterpieces of painting, the Transfiguration, (1517) Raphael adapted his mixture of classical grace and harmony to a Christian theme. Contemporaries seem to have admired this late work above the many that the artist produced in Rome. At Raphael's funeral in 1520, it was displayed alongside the funeral bier.
Although his life was short, Raphael continued to cast a long influence over Italian art in the later sixteenth century. During his brief time in Rome the artist had maintained a large studio, in which he had trained a number of painters who were to keep his style alive throughout the peninsula in the decades following his death. In the seventeenth century, too, European academies lauded Raphael's art as the most appropriate style for study and emulation, particularly in France. Raphael's subsequent influence on "academic" art was one cause for the decline of the artist's reputation in the nineteenth and twentieth century. Raphael became connected in the mind of many artistic connoisseurs with the dull repetition and monotony that was frequently the fate of art produced in the early-modern and modern academies. In truth, Raphael's creations were never repetitive and he evidenced a highly innovative approach to his compositions throughout his career. If his compositions sometimes lack the emotional intensity or intellectual depth of Michelangelo or da Vinci, it must be remembered that the artist died before even reaching the age of forty.
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