Length1h 54m
About this audiobook
Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words, "pure and perfect harmony," express, in fact, better than any others what Raphael brought to Italian art. From Perugino, he gathered all the weak grace and gentility of the Umbrian School, he acquired strength and certainty in Florence, and he created a style based on the fusion of Leonardo's and Michelangelo's lessons under the light of his own noble spirit. His compositions on the traditional theme of the Virgin and Child seemed intensely novel to his contemporaries, and only their time-honoured glory prevents us now from perceiving their originality. He has an even more magnificent claim in the composition and realisation of those frescos with which, from 1509, he adorned the Stanze and the Loggia at the Vatican. The sublime, which Michelangelo attained by his ardour and passion, Raphael attained by the sovereign balance of intelligence and sensibility. One of his masterpieces, The School of Athens, was created by genius: the multiple detail, the portrait heads, the suppleness of gesture, the ease of composition, the life circulating everywhere within the light are his most admirable and identifiable traits.
Audiobook details
Rating★★★★ 4.0 (45)
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GenreOther
Length1 hr 54 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 1, 2011
LanguageEnglish
Table of contents
1Raphael
2© Sirrocco, London, UK © Confidential Concepts, worldwide, USA
3Biography
4patron of the arts Federico da Montefeltro.
5Birth of Raphael and his First Works
Show all chaptersShow less
61500-1501 Oil on wood, 58 x 36 cm Musée du Louvre, Paris
7his activities. But this worker, so humble in
8The Madonna and Child with a Book
9and the Prophets in the church of the Pace.
10His Departure for Perugia and his Collaboration
11The Crowning of the Virgin (Oddi Altarpiece)
12once in painting, goldsmith work, architecture or
131504 Oil on wood, 52.9 x 37.4 cm Galleria degli Uffizi, Florence
14themselves into the deepest secrets of colour. They
151504 Oil on wood, 170 x 118 cm Pinacoteca di Brera, Milan
16The biographer of Italian artists, Giorgio
171504 Oil on wood, 47 x 35 cm Galleria degli Uffizi, Florence
18Raphael.
19paintings on a small scale and with subjects not
20The Madonna and Child Enthroned with Saints (Colonna Altarpiece)
21a lady from one of the most powerful families of
221504-1505 Oil on wood, 17 x 17 cm Musée Condé, Chantilly
23Portrait of the Doge Leonardo Loredan
24the astonished and delighted masses who
25Raphael Travels to Siena – The Vision of a Knight
261505 Oil on wood, 31 x 27 cm Musée du Louvre, Paris
27Leonardo da Vinci, Frà Bartolommeo, and Masaccio
281505 Pen and ink, 25.7 x 21 cm Galleria dell’Accademia, Venice
29Raphael Returns to Urbino
30place in 1504, perhaps on his return from Siena.
31hardships such as the invasion of the duchy by the
32of Cesare Borgia and the triumph of the
33Madonna and Child, known as Little Cowper Madonna
34Portrait of Agnolo Doni
35Raphael in Florence
36the patience worthy of Job, microscopic wood
37company, in winter especially, in Baccio’s studio.
38Unfortunately, throughout the four years of his
39In this respect, Raphael’s time in Florence could
40The Crowning of the Virgin, known as The Monteluce Madonna
411506 Oil on wood, 107 x 77 cm Galleria degli Uffizi, Florence
42government and those wealthy art lovers who
43their role as patrons of the arts, families such as
441506 Oil on wood, 65 x 51 cm Galleria Borghese, Rome
45Return to Perugia in 1505
46Saint George and the Dragon
471506 Oil on wood, 45 x 33 cm Galleria degli Uffizi, Florence
48Francesco Francia. The renown of this eminent
49Around 1506 the elderly goldsmith-painter
50In addition to the Madonnas, around this time
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