What is Raphael's most famous architectural work?
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Between 1509 and 1511, Raphael also completed another work on the wall opposite the "Disputa". This third painting, entitled "The School of Athens", represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.
Raphael Rooms
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This first of the famous "Stanze" or "Raphael Rooms" to be painted, now known as the "Stanza della Segnatura" after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing "The School of Athens", "The Parnassus" and the "Disputa". Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael's last Pope, the Medici Pope Leo X, with whom Raphael formed an even closer relationship, and who continued to commission him. Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor.
Raphael
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Born in Florence to a family of weavers, Penni entered Raphael's workshop very early in his life, and collaborated with him on several works, including the famous Rooms of the Vatican Palace, as well as the frescoes of Villa Farnesina, both in Rome. Heinrich Wölfflin and some other writers credited him with the entire execution of the Raphael Cartoons, with Raphael only creating the initial design, though more recent writers believe Raphael did much of the work himself.
Gianfrancesco Penni
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Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is "The School of Athens" in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking.
Raphael
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Raphael made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had worked much less successfully with Raimondi. A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving.
Raphael
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As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. 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. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. 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. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed "Mona Lisa", but still looks completely Raphaelesque. 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. There is a drawing by Raphael in the Royal Collection of Leonardo's lost "Leda and the Swan", from which he adapted the contrapposto pose of his own "Saint Catherine of Alexandria". He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings.
Raphael
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Raphael, (1483–1520), Urbino, trained under Perugino in Perugia before moving to Florence, was for a time the chief architect for St. Peter’s, working in conjunction with Antonio Sangallo. He also designed a number of buildings, most of which were finished by others. His single most influential work is the Palazzo Pandolfini in Florence with its two stories of strongly articulated windows of a "tabernacle" type, each set around with ordered pilasters, cornice and alternate arched and triangular pediments.
Renaissance architecture
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The most famous original prints to result from the collaboration were "Lucretia", the "Judgement of Paris" and "The Massacre of the Innocents" (of which two virtually identical versions were engraved). Among prints of the paintings "The Parnassus" (with considerable differences) and "Galatea" were also especially well known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century. Baviero Carocci, called "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his money, ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.
Raphael
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With America in the throes of the Great Depression, Soriano managed to find work upon graduation with the County of Los Angeles on several WPA projects, such as the famous "Steel Lobster", and in a local architect's office. By 1936, he had completed his first commission, the Lipetz House, which appeared in the 1937 International Architectural Exhibition in Paris.
Raphael Soriano
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The Raphael Cartoons are seven large cartoons for tapestries, belonging to the British Royal Collection but since 1865 on loan to the Victoria and Albert Museum in London, designed by the High Renaissance painter Raphael in 1515-16 and showing scenes from the Gospels and Acts of the Apostles. They are the only surviving members of a set of ten cartoons commissioned by Pope Leo X for tapestries for the Sistine Chapel in the Vatican Palace, which are still (on special occasions) hung below Michelangelo's famous ceiling. Reproduced in the form of prints, they rivalled Michelangelo's ceiling as the most famous and influential designs of the Renaissance, and were well known to all artists of the Renaissance and Baroque. Admiration of them reached its highest pitch in the 18th and 19th centuries; they were described as "the Parthenon sculptures of modern art".
Raphael Cartoons
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Among the most sought after treasures Napoleons agents coveted were the works of Raphael. Jean-Baptiste Wicar, a member of Napoleon's selection committee, was a collector of Raphael's drawings. Baron Antoine-Jean Gros, another member, had been influenced by Raphael. For artists like Jacques-Louis David, and his pupils Girodet and Ingres, Raphael represented the embodiment of French artistic ideals. Consequently, Napoleon's committee seized every available Raphael. To Napoleon, Raphael was simply the greatest of Italian artists and "The Transfiguration" his greatest work. The painting, along with the "Apollo Belvedere", the "Laocoön", the "Capitoline Brutus" and many others, received a triumphal entry into Paris on 27 July 1798, the fourth anniversary of Maximilien de Robespierre's fall.
Transfiguration (Raphael)