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Raffaello Sanzio da Urbino (; March 28 or April 6, 1483April 6, 1520), known mononymously as <mask>, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. <mask> was enormously productive, running an unusually large workshop and, despite his early death at 37, leaving a large body of work. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two popes and their close associates. 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. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when <mask>'s more serene and harmonious qualities were again regarded as the highest models. Thanks to the influence of art historian Johann Joachim Winckelmann his work became a formative influence on Neoclassical painting, but his techniques would later be explicitly and emphatically rejected by groups such as the Pre-Raphaelite Brotherhood. His father was court painter to the ruler of the small but highly cultured city of Urbino. He died when <mask> was eleven, and <mask> seems to have played a role in managing the family workshop from this point. He trained in the workshop of Perugino, and was described as a fully trained "master" by 1500.He worked in or for several cities in north Italy until in 1508 he moved to Rome at the invitation of the pope, to work on the Vatican Palace. He was given a series of important commissions there and elsewhere in the city, and began to work as an architect. He was still at the height of his powers at his death in 1520. Background

<mask> was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by Pope Sixtus IV – Urbino formed part of the Papal States – and who died the year before <mask> was born. The emphasis of Federico's court was more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to demonstrate awareness of the most advanced North Italian painters, and Early Netherlandish artists as well.In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave <mask> the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when <mask> was no longer based there but frequently visited, and they became good friends. <mask> became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would later be in Rome during <mask>'s period there.<mask> mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early life and work

<mask>'s mother Màgia died in 1491 when he was eight, followed on August 1, 1494, by his father, who had already remarried. <mask> was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that <mask> had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity.His father's workshop continued and, probably together with his stepmother, <mask> evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed; eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. Most modern historians agree that <mask> at least worked as an assistant to Perugino from around 1500; the influence of Perugino on <mask>'s early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as <mask> did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop.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. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. <mask> is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain.In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where <mask> confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of <mask> and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence

<mask> led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504.Although there is traditional reference to a "Florentine period" of about 1504–1508, he was possibly never a continuous resident there. He may have needed to visit the city to secure materials in any case. There is a letter of recommendation of <mask>, dated October 1504, from the mother of the next Duke of Urbino to the Gonfaloniere of Florence: "The bearer of this will be found to be <mask>, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father was most worthy and I was very attached to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love..."

As earlier with Perugino and others, <mask> 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 <mask>. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. <mask>'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 <mask> 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. Leonardo was more than thirty years older than <mask>, but Michelangelo, who was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike <mask> even more, attributing conspiracies against him to the younger man.<mask> would have been aware of his works in Florence, but in his most original work of these years, he strikes out in a different direction. His Deposition of Christ draws on classical sarcophagi to spread the figures across the front of the picture space in a complex and not wholly successful arrangement. Wöllflin detects in the kneeling figure on the right the influence of the Madonna in Michelangelo's Doni Tondo, but the rest of the composition is far removed from his style, or that of Leonardo. Though highly regarded at the time, and much later forcibly removed from Perugia by the Borghese, it stands rather alone in <mask>'s work. His classicism would later take a less literal direction. Roman period

Vatican "Stanze"
In 1508, <mask> moved to Rome, where he resided for the rest of his life. He was invited by the new pope, Julius II, perhaps at the suggestion of his architect Donato Bramante, then engaged on St. Peter's Basilica, who came from just outside Urbino and was distantly related to <mask>.Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons, <mask> was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the Vatican Palace. This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling. 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. <mask> was then given further rooms to paint, displacing other artists including Perugino

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 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 <mask>, after his early death in 1520.The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by <mask>'s last pope, the Medici Pope Leo X, with whom <mask> formed an even closer relationship, and who continued to commission him. <mask>'s friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor. <mask> was clearly influenced by Michelangelo's Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly. The first section was completed in 1511 and the reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades. <mask>, who had already shown his gift for absorbing influences into his own personal style, rose to the challenge perhaps better than any other artist. One of the first and clearest instances was the portrait in The School of Athens of Michelangelo himself, as Heraclitus, which seems to draw clearly from the Sybils and ignudi of the Sistine ceiling.Other figures in that and later paintings in the room show the same influences, but as still cohesive with a development of <mask>'s own style. Michelangelo accused <mask> of plagiarism and years after <mask>'s death, complained in a letter that "everything he knew about art he got from me", although other quotations show more generous reactions. These very large and complex compositions have been regarded ever since as among the supreme works of the grand manner of the High Renaissance, and the "classic art" of the post-antique West. 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 ...". According to Michael Levey, "<mask> gives his [figures] a superhuman clarity and grace in a universe of Euclidian certainties". The painting is nearly all of the highest quality in the first two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are not entirely as successful either in conception or their execution by the workshop. Architecture

After Bramante's death in 1514, <mask> was named architect of the new St Peter's.Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by Antonio da Sangallo the Younger. It would perhaps have resembled the temple in the background of The Expulsion of Heliodorus from the Temple. He designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces. An important building, the Palazzo Branconio dell'Aquila for Leo's Papal Chamberlain Giovanni Battista Branconio, was completely destroyed to make way for Bernini's piazza for St. Peter's, but drawings of the façade and courtyard remain. 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.The main designs for the Villa Farnesina were not by <mask>, but he did design, and decorate with mosaics, the Chigi Chapel for the same patron, Agostino Chigi, the Papal Treasurer. Another building, for Pope Leo's doctor, the Palazzo Jacopo da Brescia, was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where <mask> himself lived for a time. The Villa Madama, a lavish hillside retreat for Cardinal Giulio de' Medici, later Pope Clement VII, was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by Antonio da Sangallo the Younger. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which Palladio made a measured drawing. Only some floor-plans remain for a large palace planned for himself on the new via Giulia in the rione of Regola, for which he was accumulating the land in his last years. It was on an irregular island block near the river Tiber.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". <mask> asked Marco Fabio Calvo to translate Vitruvius's Four Books of Architecture into Italian; this he received around the end of August 1514. It is preserved at the Library in Munich with handwritten margin notes by <mask>. Antiquity
In about 1510, <mask> was asked by Bramante to judge contemporary copies of Laocoön and His Sons. In 1515, he was given powers as Prefect over all antiquities unearthed within, or a mile outside the city. Anyone excavating antiquities was required to inform <mask> within three days, and stonemasons were not allowed to destroy inscriptions without permission. <mask> wrote a letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion.The pope intended to continue to re-use ancient masonry in the building of St Peter's, also wanting to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused. According to Marino Sanuto the Younger's diary, in 1519 <mask> offered to transport an obelisk from the Mausoleum of August to St. Peter's Square for 90,000 ducats. According to Marcantonio Michiel, <mask>'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". <mask> intended to make an archaeological map of ancient Rome but this was never executed. Four archaeological drawings by the artist are preserved. Other painting projects

The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor Leo X, the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle.Other rulers pressed for work, and King Francis I of France was sent two paintings as diplomatic gifts from the Pope. 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. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop. One of his most important papal commissions was the Raphael Cartoons (now in the Victoria and Albert Museum), a series of 10 cartoons, of which seven survive, for tapestries with scenes of the lives of Saint Paul and Saint Peter, for the Sistine Chapel. The cartoons were sent to Brussels to be woven in the workshop of Pier van Aelst. It is possible that <mask> saw the finished series before his death—they were probably completed in 1520. He also designed and painted the Loggie at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style grottesche.He produced a number of significant altarpieces, including The Ecstasy of St. Cecilia and the Sistine Madonna. His last work, on which he was working up to his death, was a large Transfiguration, which together with Il Spasimo shows the direction his art was taking in his final years—more proto-Baroque than Mannerist. Painting materials
<mask> painted several of his works on wood support (Madonna of the Pinks) but he also used canvas (Sistine Madonna) and he was known to employ drying oils such as linseed or walnut oils. His palette was rich and he used almost all of the then available pigments such as ultramarine, lead-tin-yellow, carmine, vermilion, madder lake, verdigris and ochres. In several of his paintings (Ansidei Madonna) he even employed the rare brazilwood lake, metallic powdered gold and even less known metallic powdered bismuth. Workshop
Vasari says that <mask> eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single old master painter, and much higher than the norm.They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to assign to a particular hand. The most important figures were Giulio Romano, a young pupil from Rome (only about twenty-one at <mask>'s death), and Gianfrancesco Penni, already a Florentine master. They were left many of <mask>'s drawings and other possessions, and to some extent continued the workshop after <mask>'s death. Penni did not achieve a personal reputation equal to Giulio's, as after <mask>'s death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career. Perino del Vaga, already a master, and Polidoro da Caravaggio, who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right. Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation by his partner.Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the main frescoes. Most of the artists were later scattered, and some killed, by the violent Sack of Rome in 1527. This did however contribute to the diffusion of versions of <mask>'s style around Italy and beyond. Vasari emphasises that <mask> ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants—a contrast with the stormy pattern of Michelangelo's relationships with both. However though both Penni and Giulio were sufficiently skilled that distinguishing between their hands and that of <mask> himself is still sometimes difficult, there is no doubt that many of <mask>'s later wall-paintings, and probably some of his easel paintings, are more notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life. Other pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter), and the sculptor and architect Lorenzetto (Giulio's brother-in-law).The printmakers and architects in <mask>'s circle are discussed below. It has been claimed the Flemish Bernard van Orley worked for <mask> for a time, and Luca Penni, brother of Gianfrancesco and later a member of the First School of Fontainebleau, may have been a member of the team. Portraits

Drawings

<mask> was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there. Over forty sketches survive for the Disputa in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether. He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how <mask> himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done."wrote another writer after his death. For John Shearman, <mask>'s art marks "a shift of resources away from production to research and development". When a final


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 composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave only an indentation, but no mark. These can be seen on the wall in The School of Athens, and in the originals of many drawings. The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers. In later works painted by the workshop, the drawings are often painfully more attractive than the paintings.Most <mask> drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. 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. 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. Printmaking
<mask> made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to <mask>'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 <mask>'s paintings, but other designs were apparently created by <mask> purely to be turned into prints.<mask> made preparatory drawings, many of which survive, for Raimondi to translate into engraving. 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 <mask>'s art was experienced until the twentieth century. Baviero Carocci, called "Il Baviera" by Vasari, an assistant who <mask> evidently trusted with his money, ended up in control of most of the copper plates after <mask>'s death, and had a successful career in the new occupation of a publisher of prints. Private life and death

From 1517 until his death, <mask> lived in the Palazzo Caprini, lying at the corner between piazza Scossacavalli and via Alessandrina in the Borgo, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she died in 1520.He is said to have had many affairs, but a permanent fixture in his life in Rome was "La Fornarina", Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio. 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. Vasari claims that he had toyed with the ambition of becoming a cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage. <mask> died on Good Friday (April 6, 1520), which was possibly his 37th birthday. Vasari says that <mask> had also been born on a Good Friday, which in 1483 fell on March 28, and that the artist died from exhaustion brought on by unceasing romantic interests while he was working on the Loggia. Several other possibilities for his death have been raised by later historians and scientists, such as a combination of an infectious disease and bloodletting. In his acute illness, which lasted fifteen days, <mask> was composed enough to confess his sins, receive the last rites, and put his affairs in order.He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, <mask> was buried in the Pantheon. <mask>'s funeral was extremely grand, attended by large crowds. According to a journal by Paris de Grassis, four cardinals dressed in purple carried his body, the hand of which was kissed by the Pope. The inscription in <mask>'s marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Here lies that famous <mask> by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die." Critical reception

<mask> was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque, took art "in a direction totally opposed" to <mask>'s qualities; "with <mask>'s death, classic art—the High Renaissance—subsided", as Walter Friedländer put it.He was soon seen as the ideal model by those disliking the excesses of Mannerism:the opinion ...was generally held in the middle of the sixteenth century that <mask> was the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more brilliant than any other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to the great artist. Those, like Dolce and Aretino, who held this view were usually the survivors of Renaissance Humanism, unable to follow Michelangelo as he moved on into Mannerism. Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the Lives expressing similar views. <mask>'s compositions were always admired and studied, and became the cornerstone of the training of the Academies of art. His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired. He was seen as the best model for the history painting, regarded as the highest in the hierarchy of genres. Sir Joshua Reynolds in his Discourses praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of the first [i.e., best] painters", especially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention.He did not possess so many excellences as Raffaelle, but those he had were of the highest kind..." Echoing the sixteenth-century views above, Reynolds goes on to say of <mask>:

The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and the skilful accommodation of other men's conceptions to his own purpose. Nobody excelled him in that judgment, with which he united to his own observations on nature the energy of Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first. But if, according to Longinus, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference. Reynolds was less enthusiastic about <mask>'s panel paintings, but the slight sentimentality of these made them enormously popular in the 19th century: "We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the world has ever had..." wrote Wölfflin, who was born in 1862, of <mask>'s Madonnas. In Germany, <mask> had an immense influence on religious art of the Nazarene movement and Düsseldorf school of painting in the 19th century. In contrast, in England the Pre-Raphaelite Brotherhood explicitly reacted against his influence (and that of his admirers such as Joshua Reynolds), seeking to return to styles that pre-dated what they saw as his baneful influence.According to a critic whose ideas greatly influenced them, John Ruskin:
The doom of the arts of Europe went forth from that chamber [the Stanza della Segnatura], and it was brought about in great part by the very excellencies of the man who had thus marked the commencement of decline. The perfection of execution and the beauty of feature which were attained in his works, and in those of his great contemporaries, rendered finish of execution and beauty of form the chief objects of all artists; and thenceforward execution was looked for rather than thought, and beauty rather than veracity. And as I told you, these are the two secondary causes of the decline of art; the first being the loss of moral purpose. Pray note them clearly. In mediæval art, thought is the first thing, execution the second; in modern art execution is the first thing, and thought the second. And again, in mediæval art, truth is first, beauty second; in modern art, beauty is first, truth second. The mediæval principles led up to <mask>, and the modern principles lead down from him.By 1900, <mask>'s popularity was surpassed by Michelangelo and Leonardo, perhaps as a reaction against the etiolated Raphaelism of 19th-century academic artists such as Bouguereau. Although art historian Bernard Berenson in 1952 termed <mask> the "most famous and most loved" master of the High Renaissance, art historians Leopold and Helen Ettlinger say that the <mask>'s lesser popularity in the 20th century is made obvious by "the contents of art library shelves ... In contrast to volume upon volume that reproduce yet again detailed photographs of the Sistine Ceiling or Leonardo's drawings, the literature on <mask>, particularly in English, is limited to only a few books". They conclude, nonetheless, that "of all the great Renaissance masters, <mask>'s influence is the most continuous." Further reading
 The standard source of biographical information is now: V. Golzio, Raffaello nei documenti nelle testimonianze dei contemporanei e nella letturatura del suo secolo, Vatican City and Westmead, 1971
 The Cambridge Companion to <mask>, Marcia B. Hall, Cambridge University Press, 2005, ,
 New catalogue raisonné in several volumes, still being published, Jürg Meyer zur Capellen, Stefan B. Polter, Arcos, 2001–2008
 <mask>. James H. Beck, Harry N. Abrams, 1976, ,
 <mask>, Pier Luigi De Vecchi, Abbeville Press, 2003.<mask>, Bette Talvacchia, Phaidon Press, 2007. <mask>, John Pope-Hennessy, New York University Press, 1970,
 <mask>: From Urbino to Rome; Hugo Chapman, Tom Henry, Carol Plazzotta, Arnold Nesselrath, Nicholas Penny, National Gallery Publications Limited, 2004,  (exhibition catalogue)
 The Raphael Trail: The Secret History of One of the World's Most Precious Works of Art; Joanna Pitman, 2006. <mask> – A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries, catalogue raisonné by Luitpold Dussler published in the United States by Phaidon Publishers, Inc., 1971,  (out of print, but there is an online version here )
 Wolk-Simon, Linda. (2006). <mask> at the Metropolitan: The Colonna Altarpiece. New York: The Metropolitan Museum of Art. . External links

 Raphael Research Resource from the National Gallery, London
 V&A London online feature on the Raphael Cartoons
 Ten drawings and three paintings from the Royal Collection
 Web Gallery of Art
 Most of the <mask>mondi prints from the San Francisco Museums
 Raphael Project/Raffael Projekt
 Website of Teylers Museum on the provenance of the <mask> drawings in the museum's collection.Birthplace Museum of Raphael, Urbino, on the Artist's Studio Museum Network website
 Mobilier national (France) collection of tapestries
 <mask> at ColourLex. <mask> at the National Gallery of Art
Guide to the Raphael Spurious Letters undated at the University of Chicago Special Collections Research Center

Italian Renaissance architects
<mask>
Raphael
Italian portrait painters
Architects of Roman Catholic churches
Catholic painters
History painters
<mask>
Burials at the Pantheon, Rome
16th-century Italian architects
16th-century Italian painters
Italian male

masks:
Raphael
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<mask> (born 13 July 1975) is an Irish politician and author who has been the leader of the Labour Party since April 2020. He has been a Teachta Dála (TD) for the Tipperary constituency since the 2016 general election and a TD for the Tipperary North constituency from 2011 to 2016. He previously served as Minister for the Environment, Community and Local Government and Deputy leader of the Labour Party from 2014 to 2016 and Minister of State for Public and Commuter Transport from 2011 to 2014. He was a Member of the European Parliament for the South constituency from 2009 to 2011 and a Senator for the Agricultural Panel from 2007 to 2009. Early life
<mask> is from Portroe just outside Nenagh, County Tipperary. He is the son of Tom and <mask>. His parents' house burned down in 1974, the year before he was born.<mask> was raised on a small dairy farm. His father left farming following the introduction of milk quotas by the European Council in the 1980s and found employment working on the roads for the local county council. Educated at Nenagh CBS, he subsequently attended University College Cork (UCC), where he completed a BA in English and History in 1995. Two years later he completed a M.Phil in Political History. <mask> continued his education at Boston College, where he achieved a Certificate in Leadership in 1999. He returned to Ireland shortly after this and completed a MBS in eCommerce in 2002. <mask> subsequently worked as an eBusiness Manager with Bord Fáilte and Fáilte Ireland.Political career

Youth politics
<mask> is thought to have been politicised from an early age. In his final year of secondary school, he canvassed for the Labour Party during the 1992 general election. He remained active in left-wing politics in university, firstly by establishing the Jim Kemmy Branch of the Labour Party in UCC. He then became involved in a number of by-elections, local election campaigns in Cork and in the wider Munster area. He has stated that he was “politically socialised in Cork.”

<mask> became Chair of Labour Youth in 2000, having previously served as co-chair. In 2001 he was a member of the General Council. In 2001 and 2002 he was director of the Tom Johnson Summer School and was also a member of the General Election Planning Committee in the period 2001–2002.Seanad Éireann: 2007–2009
In 2007, <mask> launched his own political career when he secured election to Seanad Éireann by the Agricultural Panel. He was the only Labour Party candidate in that grouping. After the election of Eamon Gilmore as leader of the Labour Party in 2007, <mask> was appointed as Labour Party Spokesperson on Tourism and was Seanad Spokesperson on Finance and Local Government. European Parliament: 2009–2011
<mask> was elected as a Member of the European Parliament for the South constituency, at the 2009 European Parliament election, taking the last seat in a tight battle between him, Sinn Féin's Toireasa Ferris and the Independent Kathy Sinnott. <mask> was a member of the European Parliament's Committee on Internal Market and Consumer Protection. He also served on the Delegation for Relations with the United States. Dáil Éireann: 2011–present

31st Dail & Junior Ministry
Though he promised he would see out his five-year term in the European Parliament, <mask> allowed his name to go forward as a Labour Party candidate at the 2011 general election.He ran in the Tipperary North constituency and was successful, receiving 9,559 first preference votes (19.8%) and securing the third and final seat at the expense of Fianna Fáil's sitting TD, Máire Hoctor. Phil Prendergast replaced him as MEP for the South constituency. When the new coalition government was formed, <mask> joined the junior ministerial ranks as Minister of State for Public and Commuter Transport. <mask> began receiving death threats during this period. Labour Party deputy leadership and cabinet minister (2014–2016)
He was elected as deputy leader of the Labour Party on 4 July 2014. On 11 July 2014, he was appointed Minister of the Environment, Community and Local Government. New Labour leader Joan Burton originally considered appointing deputy Alex White to the role, however, she decided that the former barrister was better suited to the “legally orientated portfolio” of the Communications ministry.However she gave the Environment, Community and Local Government ministry to <mask>, who was described as “combative.” When <mask> was given his ministerial role, he initially believed that property tax would be the big issue, but within a week realised that it would be the matter of implementation of water charges and the Irish Water as required by the EU Water Framework Directive. <mask> claimed that his predecessor, Phil Hogan, had “designed the ditches” and that he now had to “drive the tractor through.” <mask> also complained of the position that he had been left with upon becoming accustomed to the role. The cabinet had previously been told by the ERSI that the cost-benefit analysis on water metering was “robust” and based on “realistic and achievable assumptions regarding the benefits.” However, by the time <mask> inherited the ministry, “it had fallen apart,” according to Michael Brennan in his 2019 book In Deep Water: How People, Politics and Protests sank Irish Water. <mask> was appointed Labour's director of elections and chair of their national campaign committee ahead of the general election. His involvement in Irish Water was extremely controversial during his tenure as minister. He received death threats on a regular basis during his tenure as minister. As Minister, <mask> announced a two-year rent freeze to combat the housing crisis.He said that "blockages" had made solving the housing crisis difficult. A law brought in by <mask> was criticised by the Irish Planning Institute (IPI), who said that it would increase ministerial planning powers over local authorities and could significantly change how planning operates in Ireland. Councillors opposed to the law said that it was a "power grab", and claimed it could significantly limits the planning powers of local government. In November 2014, the Independent reported that <mask> had received death threats. Also in November 2014 he claimed that he had received four death threats from "anonymous warriors" in a single week. <mask>'s constituency office received a bomb threat in November 2014. In December 2014 it was reported that a staff member who answered a call was told "a bullet will be put in his head before the end of the day.And we'll come down and put a bullet in your head too, you rich f**k. We won't be paying water charges." A threatening letter sent to his office in 2015 containing a 'suspicious powder' was declared a hoax by the Gardai and the Defence Forces. EU Commissioner Phil Hogan moved to distance himself from the controversies with Irish Water by stressing that <mask> was now in charge of water. Barry Cowen claimed in relation to a policy change that "the issue with the policy is that everytime <mask> picks up a phone to a journalist, his policy for Irish Water changes and it’s become absolutely farcical." In 2015, the Business Post claimed that <mask>  “ignored expert advice by giving €1.5 million in grants to towns in his new constituency,” stating that  was responsible for the active travel towns scheme, which provides funding for walking and cycling routes to get people to switch from their cars. He gave €1 million to Clonmel and more than €500,000 to Thurles under the scheme, even though projects from other towns “got significantly higher marks” in assessments. In December 2015 <mask> became emotional as he strongly denied claims that he had leaked information about the Labour Party to the media.A number of Labour TDs identified him as the source of a leak of an internal analysis which suggested that Labour would lose up to 20 seats at the upcoming general election. <mask> attracted further controversy following a January 2016 interview in the Sunday Independent headlined '<mask>: "Power is a drug . . . it suits me"'. He later clarified the context in a June 2020 interview with The Mirror, saying; “I did say those words, but everybody forgets about the dot, dot, dot in the middle. I’ve nothing against the journalist now, but if you read it, power is a drug, it suits me, there’s a dot, dot, dot in the middle. The conversation was about how some people are always in opposition and will never want to go into government. Some people, you know, being in government suits them.They’re able to handle it or deal with it, or whatever. That was the conversation and I suppose power, being in power, being in government are interchangeable words, so that was the context of it. But when you’re explaining you’re losing". <mask> attracted controversy for his former association with John Delaney of the FAI and denied claims that Delaney was stopping people and asking them to vote for him during the 2016 general election campaign. Delaney had asked people to support <mask> on MidWest Radio. <mask> insisted that having Delaney support him was not a form of cronyism. Following the election, <mask> remained Minister for the Environment, Community and Local Government in an acting capacity during prolonged talks on government formation.Writing on <mask> in How Ireland Voted 2016: The Election Nobody Won, the authors claimed that Phil Hogan left “the controversy surrounding water charges remained for his successor, Labour's <mask>, to deal with.”

Opposition and leadership challenges (2016–2020)

In May 2016, <mask> announced his intention to seek leadership of the Labour Party. However, he failed to attract a nomination from his parliamentary colleagues, resulting in the unopposed appointment of Brendan Howlin as the new leader. <mask> was not present at the conference at which Howlin was announced as leader. One TD who was present described <mask>'s no-show as "childish" and "disrespectful". <mask> was adamant that Howlin "blocked" his leadership ambitions by warning colleagues that he would not stand if there was a contest. Later, <mask> tweeted an image of seven pints of Guinness lined up, ranging from full to half empty, with the cryptic message: "The seven stages of leadership". He was reportedly “considering his future in politics after being left humiliated by his parliamentary party,” according to the Irish Independent.Sarah McInerney of The Times wrote an opinion piece supporting <mask> titled ‘The man we love to hate should be leading Labour.’

Grassroots efforts to put pressure on members of the parliamentary party were unsuccessful. The parliamentary party also decided not to nominate any candidates for the position of deputy leader, leaving <mask>'s previous position vacant. When asked by Hot Press if he felt 'shafted', he replied saying; "Yes. I was pretty annoyed about what happened. It was a difficult period but I’ve moved on. There are no issues. I don’t bear grudges.But you don’t forget. You put it inward and you use it for motivation – and you move on." In the same interview he said that it was 'wrong' that the grassroots membership couldn't have a say. In Spring 2017, <mask> was approached to join Fine Gael by the Tipperary organisation, which he declined. A source believed to be close to <mask> confirmed this to be true but said that "<mask> has time and time again said that Labour values are in his DNA and that's certainly true. He's always talking about workers and the value of work. He is certainly not one of those who just pander to the welfare or liberal agendas that Labour has become so associated with.His ambition is to drag the Labour Party back towards what he believes in rather than ever leave it". In September 2017, <mask> called for the HPV vaccine to be given to all schoolboys in Ireland. The vaccine's roll-out among girls had recently been subject to controversy over its alleged side effects. In November 2017, <mask> was criticised by his Labour colleagues after he warned leader Brendan Howlin that he has less than six months to turn the party's fortunes around. However, the chair of the Association of Labour Councillors, Dermot Lacey, said: "If there had been an election [in 2016], I would have voted for <mask>. If there is an election, I will vote for him. At the moment there isn't a contest."In August 2018, <mask> challenged Howlin for the party leadership. His challenge failed due to lack of support from his parliamentary colleagues. The Irish Independent described his efforts to become leader as 'persistent'. In 2020, <mask> was re-elected to represent the Tipperary constituency during the February general election, obtaining 13,222 first preference votes (9.6%) and thus securing the fourth of five available seats. As of 2020, <mask> was Labour's spokesperson on health. Labour Party leader (2020–present)

After Brendan Howlin's intention to stand down as party leader following the 2020 general election, <mask> was nominated by two of the party's six TDs; Seán Sherlock and Duncan Smith. <mask> was also publicly supported by former Labour TDs Jan O'Sullivan and Willie Penrose.Launching his election bid, <mask> said that a complete rebuild of the Labour Party was needed. On 3 April 2020, he was announced as the new leader of the Labour Party, having won 55% of the vote. <mask> became noted for his outspoken style following his election as leader. In May 2020, he appeared to rule out going into a coalition government. He was named the Irish Times ‘TD of the Year’ for 2020 by Miriam Lord. Image

According to The Journal in 2016,  <mask>, described himself as being an ‘early achiever’, ‘ruthless’ and ‘extremely ambitious.’ The publication also claimed at that time that he was a “mere boy in the context of Ireland’s political age-profile.”

In 2016, following his unsuccessful attempt to become Labour leader, the Irish Examiner said that “brashly macho <mask> was not acceptable to the femocrats who form the Labour rump, despite his record and ambition.”

<mask> has been nicknamed "AK47" for his quick temper and aggressive style. In 2015, Village magazine wrote that “<mask> is probably best known as a blow-hard recognised even within his own party as AK47 for his slingshot machismo” and that “sometimes,  <mask> can appear almost menacing, though in the context of Labour Party burnout, that passes for a positive.”

He was described in a 2020 article in Laois Today as someone who "not only likes his soubriquet but relishes in his characterisation of someone who shoots from the hip, takes no prisoners and gets things done".RTÉ and the Progressive Brief have described him as 'tenacious'. Newstalk ranked 'The Alan Kelly Rap' as the No.1 Irish election song ahead of the 2020 general election. <mask> is believed to be opposed to the 'liberal' and 'welfare' agendas that are said to be associated with the modern Labour Party. The Irish Times described his election as Labour Party leader as a defeat for the party's 'liberal' wing. The Laois Today and the Business Post made the implication in 2020 that he was not part of the 'liberal' wing of the party. In a 2020 interview with the Irish Independent, an anonymous party politician described him as "authentic to the traditional old Labour". In a Hot Press interview in 2017, he described himself as a practicing Catholic and said that he is very liberal on 'most issues'.He stated that he was opposed to the legalisation of prostitution, but was in favour of the legalisation of marijuana. Personal life
<mask> is married to Regina O'Connor, a primary school teacher who was raised in Waterville, County Kerry. The couple have two children; a daughter and a son. His brother is former US Special Envoy for Northern Ireland and former CEO of Teneo, <mask>. He is the author of A Political History of County Tipperary 1916–1997 and has won numerous rugby and hurling medals according to his Labour Party summary. <mask> co-owns a racing greyhound named 'Akay Forty Seven'. During a Dáil debate in December 2020, <mask> said that “with regard to greyhound people, many of whom are working-class people, greyhounds are effectively their horses.” He did not support a Social Democrats motion seeking to end State funding of the industry.As of 2021, <mask> owned a holiday home in Co. Kerry, that he let out using Airbnb. In an interview with Pat Kenny on Newstalk, he stated that  “I have an issue with Airbnb in urban areas, rather than rural areas.” According to the Irish Independent, it was used for short-term letting. He added, where the house is based, is in “a small population area.” However, he felt that Airbnbs “in urban areas… that needs regulation.”

References

External links

 <mask>'s page on the Labour Party website

1975 births
Living people
Alumni of University College Cork
Alumni of University College Dublin
Labour Party (Ireland) MEPs
Labour Party (Ireland) TDs
Members of the 23rd Seanad
Members of the 31st Dáil
Members of the 32nd Dáil
Members of the 33rd Dáil
MEPs for the Republic of Ireland 2009–2014
Ministers for the Environment (Ireland)
Ministers of State of the 31st Dáil
Politicians from County Tipperary
Labour Party (Ireland) senators
Leaders of the Labour Party (Ireland)

masks:
Alan Kelly
Kelly
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<mask> of Westminster (13 October 1453 – 4 May 1471), also known as <mask> of Lancaster, was the only son of King Henry VI of England and Margaret of Anjou. He was killed aged seventeen at the Battle of Tewkesbury. Early life
<mask> was born at the Palace of Westminster, London, the only son of King Henry VI of England and his wife, Margaret of Anjou. At the time, there was strife between Henry's supporters and those of Richard of York, 3rd Duke of York, who had a claim to the throne and challenged the authority of Henry's officers of state. Henry was suffering from mental illness, and there were widespread rumours that the prince was the result of an affair between his mother and one of her loyal supporters. Edmund Beaufort, 2nd Duke of Somerset and James Butler, 5th Earl of Ormond, were both suspected of fathering Prince <mask>; however, there is no firm evidence to support the rumours, and King Henry himself never doubted the boy's legitimacy and publicly acknowledged paternity. <mask> was invested as Prince of Wales at Windsor Castle in 1454.War over the English throne
In 1460, King Henry was captured by the supporters of the Duke of York at the Battle of Northampton and taken to London. The Duke of York was dissuaded from claiming the throne immediately, but he induced Parliament to pass the Act of Accord, by which Henry was allowed to reign but <mask> was disinherited, as York or his heirs would become king on Henry's death. Queen Margaret and <mask> had meanwhile fled through Cheshire. By Margaret's later account, she induced outlaws and pillagers to aid her by pledging them to recognise the seven-year-old <mask> as rightful heir to the crown. They subsequently reached safety in Wales and journeyed to Scotland, where Margaret raised support, while the Duke of York's enemies gathered in the north of England. After York was killed at the Battle of Wakefield, the large army which Margaret had gathered advanced south. They defeated the army of Richard Neville, 16th Earl of Warwick, one of York's most prominent supporters, at the Second Battle of St Albans.Warwick had brought the captive King Henry in the train of his army, and he was found abandoned on the battlefield. Two of Warwick's knights, William Bonville, 1st Baron Bonville, and Sir Thomas Kyriell, who had agreed to remain with Henry and see that he came to no harm, were captured. The day after the battle, Margaret asked <mask> what death the two knights should suffer. <mask> readily replied that their heads should be cut off. Exile in France

Margaret hesitated to advance on London with her unruly army, and subsequently retreated. They were routed at the Battle of Towton a few weeks later. Margaret and <mask> fled once again, to Scotland.For the next three years, Margaret inspired several revolts in the northernmost counties of England, but was eventually forced to sail to France, where she and <mask> maintained a court in exile. (Henry had once again been captured and was a prisoner in the Tower of London.) In 1467 the ambassador of the Duchy of Milan to the court of France wrote that <mask> "already talks of nothing but cutting off heads or making war, as if he had everything in his hands or was the god of battle or the peaceful occupant of that throne." After several years in exile, Margaret took the best opportunity that presented itself and allied herself with the renegade Earl of Warwick. King Louis XI of France wanted to start a war with Burgundy, allies of the Yorkist King <mask>. He believed if he allied himself to restoring Lancastrian rule they would help him conquer Burgundy. As a compliment to his new allies Louis made young <mask> godfather to his son Charles.Prince <mask> was married to Anne Neville, Warwick's younger daughter, in December 1470, though there is some doubt as to whether the marriage was ever consummated. Battles of Barnet and Tewkesbury
Warwick returned to England and deposed <mask>, with the help of <mask>'s younger brother, the Duke of Clarence. <mask> fled into exile to Burgundy with his youngest brother the Duke of Gloucester, while Warwick restored Henry VI to the throne. Prince <mask> and Margaret lingered behind in France until April 1471. However, <mask> had already raised an army, returned to England, and reconciled with Clarence. On the same day Margaret and <mask> landed in England (14 April), <mask> defeated and killed Warwick at the Battle of Barnet. With little real hope of success, the inexperienced prince and his mother led the remnant of their forces to meet <mask> in the Battle of Tewkesbury.They were defeated and <mask> of Westminster was killed. According to some accounts, shortly after the rout of the Lancastrians at Tewkesbury, a small contingent of men under the Duke of Clarence found the grieving prince near a grove, and immediately beheaded him on a makeshift block, despite his pleas. Paul Murray Kendall, a biographer of Richard III, accepts this version of events. Another account of <mask>'s death is given by three Tudor sources: The Grand Chronicle of London, Polydore Vergil, and <mask>. It was later dramatised by William Shakespeare in Henry VI, Part 3, Act V, scene v. Their story is that <mask> was captured and brought before the victorious <mask> and his brothers and followers. The king received the prince graciously, and asked him why he had taken up arms against him. The prince replied defiantly, "I came to recover my father's heritage."The king then struck the prince across his face with his gauntlet hand, and his brothers killed the prince with their swords. However, none of these accounts appear in any of the contemporaneous sources, which all report that <mask> died in battle. <mask>'s body is buried at Tewkesbury Abbey. His widow, Anne Neville, married the Duke of Gloucester, who eventually succeeded as King Richard III in 1483. Epitaph
The Latin memorial brass to <mask> in Tewkesbury Abbey is set in the floor between the choir stalls, under the tower. It reads as follows:

This can be translated into English as follows:

"Here lies <mask>, Prince of Wales,
cruelly slain whilst but a youth. Anno Domini 1471, May fourth.Alas, the savagery of men. Thou art the sole light of thy Mother,
and the last hope of thy race." Ancestry and family tree

Notes

References
 R. A. Griffiths, The Reign of King Henry VI (1981), especially the Epilogue. Alison Weir, Lancaster and York: The Wars of the Roses, London (1995)

External links
 Richard III Society
 The Death of <mask> of Lancaster at Tewkesbury

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1453 births
1471 deaths
15th-century English nobility
Princes of Wales
Dukes of Cornwall
English military personnel killed in action
Heirs apparent who never acceded
Heirs to the English throne
Edward of Westminster
People from Westminster
People of the Wars of the Roses
English Roman Catholics
Burials at Tewkesbury Abbey
Sons of kings

masks:
Edward
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<mask>, 7th Earl of Harewood,  (7 February 1923 – 11 July 2011), styled The Honourable <mask> before 1929 and Viscount Lascelles between 1929 and 1947, was a British classical music administrator and author. He served as director of the Royal Opera House (1951–53; 1969–72), chairman of the board of the English National Opera (ENO) (1986–95); managing director of the ENO (1972–85), managing director of the English National Opera North (1978–81), governor of the BBC (1985–87), and president of the British Board of Film Classification (1985–96). <mask> was the elder son of the 6th Earl of Harewood and Princess Mary, Princess Royal, the only daughter of King <mask> and Queen Mary. At his birth, he was 6th in the line of succession; at his death, he was 46th. Lord Harewood was the eldest grandchild of King <mask> and Queen Mary, nephew of both King Edward VIII and King <mask> VI and first cousin of Queen Elizabeth II. He succeeded to his father's earldom on 24 May 1947. Early life
<mask> was born at his parents' London home of Chesterfield House on 7 February 1923, the first child of Henry Lascelles, Viscount Lascelles, and Princess Mary, Viscountess Lascelles, and first grandchild of King <mask> and Queen Mary, who stood as sponsors at his christening.The christening took place on 25 March 1923 at St Mary's Church in the village of Goldsborough, near Knaresborough adjoining the family home Goldsborough Hall. After his grandfather's death in 1929, he was styled as Viscount Lascelles as his father succeeded to the earldom. He served as a Page of Honour at the coronation of his uncle King <mask> VI in May 1937. He was raised at Harewood House in Yorkshire. He was educated at Ludgrove School, Eton College and King's College, Cambridge. His time at university was interrupted by the Second World War. Military service
Lascelles joined the British Army where he was commissioned as a second lieutenant into the Grenadier Guards (his father's regiment) in 1942, attaining the rank of captain.He fought with the 3rd Battalion of the regiment, part of the 1st Guards Brigade of the 78th Infantry Division (the brigade was later transferred to the 6th Armoured Division), serving in North Africa and Italy, but was wounded and captured at Monte Corno on 18 June 1944, the anniversary of both his father's injury in the First World War and the Battle of Waterloo, in which his great-great-grandfather was injured. He was held as a prisoner of war in Oflag IV-C (Colditz) till May 1945. As the nephew of King <mask> VI, Lascelles was one of the Prominente at Colditz, considered a potential bargaining chip by the Nazis. In March 1945, Hitler signed his death warrant; the SS general in command of prisoner-of-war camps, Gottlob Berger, realizing the war was lost, refused to carry out the sentence and released the Viscount to the Swiss. In 1945–46, he served as aide-de-camp to his great uncle, Lord Athlone, who was then Governor General of Canada. <mask> served as a Counsellor of State in 1947, 1953–54, and 1956. House of Lords
Lascelles succeeded his father in 1947.On 7 February 1956, he took his seat in the House of Lords. He lost his seat in the Lords following the House of Lords Act of 1999, which excluded hereditary peers from membership. Career

Opera
A music enthusiast, Lord <mask> devoted most of his career to opera with his Yorkshire heritage fostering his interest; in March 1949, as a young single man, he had been among the audience at the Leeds Town Hall for a  performance of operatic works by the Yorkshire Symphony Orchestra. By 1950, he had become patron of the orchestra's concerts. He served as editor of Opera magazine from 1950 to 1953. In February 1950, it was reported that he had launched the magazine at a large party at the London house of Richard Buckle with many music-loving guests in attendance. He was director of the Royal Opera House, Covent Garden from 1951 to 1953 and again from 1969 to 1972.He served as chairman of the board of the English National Opera (ENO) from 1986 to 1995; Managing Director of the ENO from 1972 to 1985 and was Artistic Director of both the Edinburgh and Adelaide Festivals. From 1958 to 1974, he was General/Artistic Director of the Leeds Triennial Musical Festival. He was Managing Director of the ENO offshoot English National Opera North from 1978 to 1981. <mask> served as a governor of the BBC from 1985 to 1987 and as the president of the British Board of Film Classification from 1985 to 1996. He was the author or editor of three books, Kobbé's Complete Opera Book (ed. 1954, now The New Kobbé's Opera Book, edited with Antony Peattie, latest ed. 1997; and The New Pocket Kobbé's Opera Book, edited with his step-son Michael Shmith, 2000), The Tongs and the Bones (an autobiography, 1981), and Kobbé's Illustrated Opera Book (ed.1989). He was chairman of Historic Masters, an unusual vinyl record label dedicated to high quality issues of rare historic 78 rpm recordings of opera singers. He was a noted friend and colleague of the late opera diva Maria Callas and is featured in the 1968 EMI documentary The Callas Conversations Vol. I, during which he interviewed Callas at length concerning her career and ideas about opera. Football
His other interests included football: he served as president of Leeds United Football Club from 1961 until his death and was president of the Football Association from 1963 to 1972. He died on 11 July 2011, aged 88. Public life
Lascelles was the only person to serve as Counsellor of State without being a Prince of the United Kingdom, serving from 1945 to 1951, then 1952 to 1956.He served as chancellor of the University of York from 1962 to 1967. He was ranked number 1355 in the Sunday Times Rich List 2008 with an estimated wealth of £55 million—his magnificent art treasures, held in trust and valued at more than £50 million, and a  estate outside Leeds. The estate and house, Harewood House, are held by a charity with £9 million of assets, and were not counted as part of his wealth. Honours

Queen Elizabeth II created him a Knight Commander of the Order of the British Empire (KBE) in the Queen's Birthday Honours List on 13 June 1986. On 1 July 2010 he was appointed an Honorary Member of the Order of Australia (AM), "for service to the arts in Australia and to supporting Australia's artists in the United Kingdom". In 1959, <mask> received the Grand Decoration in Silver with Sash for Services to the Republic of Austria. Marriages and issue

On 29 September 1949 at St. Mark's Church, London, <mask> married Marion Stein, a concert pianist and the daughter of the Viennese music publisher Erwin Stein.Because of <mask>'s position in the line of succession, the marriage was subject to approval from the sovereign, under the Royal Marriages Act 1772. Queen Mary, mother of <mask> VI, objected to the marriage but permission was eventually granted. Benjamin Britten, a friend of the Stein family, composed an anthem, "Amo Ergo Sum", for the wedding ceremony. Lord and Lady <mask> had three sons:

 David, 8th Earl of Harewood, born 21 October 1950. He married Margaret Messenger on 12 February 1979; they were divorced in 1989. They have four children and seven grandchildren. He married Diane Howse on 11 March 1990.The Honourable James Lascelles, born 5 October 1953. He married Fredericka Duhrrson on 4 April 1973; they were divorced in 1985. They have two children and one granddaughter. He married secondly Lori Lee on 4 May 1985; they were divorced in 1996. They have two children and one grandson. He married thirdly Joy Elias-Rilwan on 30 January 1999. The Honourable Jeremy Lascelles, born 14 February 1955.He married Julie Bayliss on 4 July 1981; they were divorced. They have three children and four grandchildren. He married Catherine Bell on 7 January 1999. They have a daughter. The earl's marriage to Marion Stein ended in divorce in 1967, after the earl's mistress, Patricia "Bambi" Tuckwell - an Australian violinist and sister of the musician Barry Tuckwell - gave birth to his son. This was considered an enormous scandal at the time, and caused the couple to be ostracised for some years, even after their relationship was made legal. Stein went on to marry politician Jeremy Thorpe.<mask> married Tuckwell (24 November 1926 – 4 May 2018) on 31 July 1967. The wedding took place at Waveny Park in New Canaan, Connecticut. They were obliged to be married abroad as, in England, registry office marriages were barred at the time for persons covered by the Royal Marriages Act, and divorcees could not marry in the Church of England. They had one son, The Hon. Mark Hubert Lascelles, born 4 July 1964. He married, first, Andrea Kershaw (born 16 June 1964) on 8 August 1992 and divorced in 2005. They have three daughters.He married Judith Ann Kilburn on 16 July 2011. Death

Lord <mask> died peacefully at home, 11 July 2011, aged 88 years. A private, but well-attended stately home funeral was held on July 15th. Books

The Tongs and the Bones: The Memoirs of <mask>, published by George Weidenfeld & Nicolson (1981),  is <mask>' autobiography

References

External links

 <mask>, 7th Earl of Harewood interview by Bruce Duffie
 Obituary, The Daily Telegraph, 12 July 2011. Appearance on Desert Island Discs 26 December 1981
 Archival Material at

1923 births
2011 deaths
Grenadier Guards officers
English Anglicans
English football chairmen and investors
Knights Commander of the Order of the British Empire
Honorary Members of the Order of Australia
Recipients of the Grand Decoration with Sash for Services to the Republic of Austria
Pages of Honour
Presidents of the Football Association
British Army personnel of World War II
British World War II prisoners of war
Prisoners of war held at Colditz Castle
Opera managers
Opera North
Opera critics
Alumni of King's College, Cambridge
People educated at Eton College
People educated at Ludgrove School
Chancellors of the University of York
Honorary Members of the Royal Philharmonic Society
George
Sportspeople from Yorkshire
7
20th-century English businesspeople

masks:
George Henry Hubert Lascelles
George Lascelles
Harewood
George V
George V
George
George Lascelles
George V
George
George
Lord Harewood
Harewood
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Madame <mask> (23 August 1891 – 8 March 1932) was the false name of Maria Vilhelmiina Lindell, a Finnish socialite and spy. Her home was a noted salon for various writers and artists. She also did espionage, originally for the Cheka, the Soviet secret police, and was arrested three times for fraud. She also had connections to the right-wing Lapua Movement. She became the subject of several books and stories. In 1932 she was murdered with a shot to the head. Biography

Early years
Maria Vilhelmiina Lindell, originally from Aalto, was born in poor conditions in Pirkkala as the illegitimate child of a 16-year-old Nokia-born maid, Olga Aalto.Maria got a new surname from her stepfather Vilho Oskari Lindell. Maria's mother died on 29 August 1906, when Maria was only 15 years old. After living with relatives for some time, the early independent Maria moved to Tampere, after which she severed relations with her family. Maria did not have a permanent address and she stole a lot, as a result of which she ended up dealing with the authorities several times, even having to go to jail for unpaid fines. In 1913, Maria Lindell moved to Helsinki for the first time. Her first child had died in 1908 within two weeks of its birth. She left her second child in Tampere for care.Accused of several thefts, Maria Lindell was imprisoned for the second time on 24 October 1914, and gave birth to a boy while serving her sentence. After being released from prison, Maria Lindell was taken to the women's shelter, Villa Elseboh, in Huopalahti, maintained by the Finnish Prison Association. According to Kari Selén, who wrote her biography, Lindell took advantage of the shelter, although at the same time she worked as a babysitter there. Lindell served her third and final prison sentence convicted of thefts from 1920 to 1923. This prison period marked a frontier, after which Maria Lindell became "Madame Minna Craucher" with various phases. "Madame Craucher"

Thanks to the "Madame Craucher" identity created with the help of her lively imagination and attraction, she probably appeared in the high society of Helsinki in the early spring of 1925. According to her story, she was a German noblewoman, a millionaire and a generous art lover.Finnish descent explained proficiency in the Finnish language. The sets included a Willys Knight convertible from Stockmann for a down payment and a driver with a "Russian prince" in the background. In 1925, Craucher met 12 years younger Olavi Paavolainen, whose mistress she would be for several years. Together with journalist Ensio Svanberg, <mask> <mask> co-founded the "Entertainment and Travel Directory", a magazine that later became known as Seura (meaning "The Society") and was published in 1926–1929. The authors of the magazine included at least Kersti Bergroth, Pentti Haanpää, Martti Merenmaa, Elina Vaara, Väinö Nuorteva, and Mika Waltari. The editors-in-chief were Yrjö Rauanheimo, Lauri Viljanen and Waltari. <mask> <mask> was the acquirer and marketer of the magazine's advertising space.As the magazine itself was not very attractive, Craucher even resorted to blackmail in obtaining advertising contracts. Madame Craucher's salon was a popular gathering place for Tulenkantajat ("The Flame Bearers") and other young writers of the time because of her generous service and her fascinating persona. Of the authors who visited Craucher's salon, at least Joel Lehtonen, Martti Merenmaa and Mika Waltari have described the salon and its owner. The salon was located at Freesenkatu 4 A 3. The salon, or apartment Madame Craucher, was bought by master builder K. E. Lund on 7 November 1924. The 47-square-meter apartment at that time was a modern type of apartment, a double apartment. The most striking part of it was the Turkish room.The colorful interior was softened by suitable lighting. The materials were stunning: oriental rugs all the way to the walls, brass tobacco tables and a large number of cushions to sit on. From Freesenkatu, Craucher later moved to Mechelininkatu 23 A 20. In the Lapua Movement
When the Seura magazine ceased to be published in 1929, the focus of Craucher's activities shifted to officers and right-wing politicians. According to Selén, young officers – like young writers – were exposed to Madame's entertainment. Craucher herself, for her part, felt drawn to uniforms, according to the author of the biography. Craucher got involved in the right-wing Lapua Movement by first talking about herself as an advertiser for its Aktivisti magazine.Here she took advantage of fabricated recommendations from Marshal Mannerheim, among others. Among other things, Craucher arranged and partially donated armbands for the participants of the Peasant March. Later, when Craucher had established close relations with the leaders of the movement, such as Vihtori Kosola, and gained influence, she began to be nicknamed "Captain of Lapua" or "Captain of Lapua Movement". Esko Riekki, the head of the Finnish Security Police, defined Craucher's role in the Lapua Movement in September 1930 as follows:

Death

Craucher became unpopular with the Lapua Movement and began to be suspected of being a communist agent. This was influenced by her covert background, which was revealed by the Finnish Security Police to the leadership of the Lapua Movement. Unpopularity was particularly fueled by the deep contradiction between the movement's general secretary, Martti Wallenius, and Craucher. Craucher can be said to have partially fulfilled the suspicions against her.However, the target was not the Communists but the Social Democrats. She told about the activities of the Lapua movement through Kalle Lehmus, the Suomen Sosialidemokraatti magazine. She also implied that she was in possession of a secret organization chart of the movement. Possibly, Craucher's statement to Olavi Runolinna, economist and supporter of the Lapua Movement, about the threat of "changing sides" caused the unstable and drunk Runolinna to shoot Craucher to death in her apartment on 8 March 1932; initially, in a murder investigation conducted by the police, Martti Wallenius was considered the main suspect. Craucher's murder has been interpreted as part of the follow-up to the Mäntsälä rebellion. After her death, Esko Riekki wrote:

In popular culture

Fictional literature references related to Minna Craucher
 Joel Lehtonen: Rakastunut rampa (1922); a character named Mimmi Byskata is based on Craucher. Martti Merenmaa: Nousuvesi (1926); a character named Mrs. Pomaré is based on Craucher.Mika Waltari: Suuri illusioni (1928); a character named Mrs. Spindel is based on Craucher. Kjell Westö: Hägring 38 (2013)

See also
 Ruben Oskar Auervaara

Further reading

References

External links

 Adelsdamen och horan. Finlandssvenska krimpodden 20 December 2019. Rundradion. (in Swedish)
 Craucher, <mask> at Uppslagsverket Finland (in Swedish)

1891 births
1932 deaths
People from Pirkkala
People from Häme Province (Grand Duchy of Finland)
Political history of Finland
Finnish salon-holders
Finnish murder victims
Finnish spies
Deaths by firearm in Finland
People murdered in Finland
Fraudsters

masks:
Minna Craucher
Minna
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<mask>  (12 June 1858 – 13 March 1929), was an English visual artist; primarily a painter, but also a photographer. His most notable work was in the Impressionist style, and he is best known for his paintings of nude boys and young men. Trained at the Slade School of Art under Alphonse Legros and Sir Edward Poynter, Tuke developed a close relationship with the Newlyn School of painters, his work being exhibited at the Royal Academy of Arts, of which he became a Full Member. In addition to his achievements as a figurative painter, he was an established maritime artist and produced many portraits of sailing ships. He was highly prolific, with over 1,300 works listed and more being discovered. Early life

Tuke was born at Lawrence Street, York, into the prominent Quaker Tuke family. His brother <mask> was born two years earlier in 1856.His father, Daniel Hack <mask>, a well-known medical doctor specialising in psychiatry, was a campaigner for humane treatment of the insane. His great-great-grandfather <mask> had founded the Retreat at York, one of the first  modern insane asylums, in 1796. His great-grandfather <mask>, grandfather <mask> and uncle James Hack <mask> were also well-known social activists. The <mask> family's ancestry can be traced back to Sir <mask>, who served as an adviser to King <mask> of England (replacing Sir Thomas More). In 1859 the family moved to Falmouth in Cornwall where it was hoped the warmer climate would benefit Tuke's father, Daniel, who had developed symptoms of tuberculosis. Daniel survived there and lived on until he was 68. He established a small doctor's practice in his house in Wood Lane.His sister, <mask> Sainsbury (1861–1947)—who wrote a biography of her brother after his death—was born there. William went on to study medicine but <mask>, or Harry as he was called by the family, showed no interest in the profession. <mask> was encouraged to draw and paint from an early age. <mask> and his siblings were taught by a governess at home. Maria described their childhood in Falmouth as "a very happy and healthy one" and the long summer days spent on the beach and swimming in the sea had a lasting effect on Tuke; other enduring memories were the firm friendships the young Tuke formed. In 1874 Tuke  moved to London, where he enrolled in the Slade School of Art. It was in Falmouth that the young Tuke had been introduced to the pleasures of nude sea bathing, a habit he continued into old age.After graduating he travelled to Italy in 1880, and from 1881 to 1883 he lived in Paris, where he studied with the French history painter Jean-Paul Laurens and met the American painter John Singer Sargent (who was also a painter of male nudes, although this was little known in his lifetime). During the 1880s Tuke also met Oscar Wilde and other prominent poets and writers such as John Addington Symonds, most of whom were homosexual (then usually called Uranian) and who celebrated the adolescent male. He wrote a "sonnet to youth" which was published anonymously in The Artist, and also contributed an essay to The Studio. Newlyn School

In 1883, Tuke returned to Britain and moved to Newlyn, Cornwall joining a small colony of artists including Walter Langley, Albert Chevallier Tayler and Thomas Cooper Gotch. These painters, and others, became known as the Newlyn School. He worked from Rose Cottage at Tregadgwith Farm, Cornwall at the head of the Lamorna valley. In Newlyn, in 1884, Tuke completed his first painting of boys in boats.Called Summertime, it depicts two local boys, John Wesley Kitching and John Cotton, in a punt called Little Argo. Tuke's style was more impressionistic than that of the other Newlyn painters and he only stayed a short time. However, he remained close friends with many of the artists until his death. Falmouth

Tuke painted oil studies of young male nudes during a tour of Italy in his early twenties in 1881, but the theme did not become central to his work until after 1885, when he had moved back to Falmouth, then still a secluded part of Cornwall and a part of the country with a very mild climate that was more agreeable for nude bathing. There Tuke focused on maritime scenes and portraits, which showed boys and young men bathing, fishing and sunbathing on sunny beaches. He settled at Swanpool and bought a fishing boat for £40, 'Julie of Nantes', and converted it into a floating studio and living quarters. He rented two rooms in Pennance Cottage, situated between Pennance Point and Swanpool Beach.The cottage remained Tuke's permanent base until his death, although he often lived aboard boats. Here he could indulge his passion for painting boys. His early models were brought down from London but he soon befriended some of the local fishermen and swimmers in Falmouth who became his close friends and models. These included Edward John "Johnny" Jackett (1878–1935), Charlie Mitchell (1885–1957), who looked after Tuke's boats, Willie Sainsbury, Tuke's eldest nephew, Leo Marshall, Georgie and Richard Fouracre (sons of his housekeeper), George Williams – younger son of close neighbours, Maurice Clift – nephew of a family friend, Ainsley Marks, Jack Rolling (in some sources misspelt "Rowling") Freddy Hall, Bert White and Harry Cleave. Due to Tuke's habit of interchanging heads and bodies of his models in his paintings, it is often not possible to identify each figure exactly. All of Tuke's regular models were eventually called up during the First World War, and some did not return, including Maurice Clift (a model for August Blue) who was killed in France. Tuke established an art gallery in Falmouth with William Ayerst Ingram as a commercial outlet mainly for their own paintings.He would often commute to London as Falmouth was well served with a railway service and he was not therefore isolated from the London art scene. He  produced numerous portraits of society figures, local officials and members of the Tuke family circle. He also painted many more saleable landscapes and was well regarded as a painter of ships in sail. <mask> <mask> was elected Associate of the Royal Academy in 1900 and Royal Academician in 1914. Style

Tuke favoured rough, visible brush strokes, at a time when a smooth, polished finish was favoured by fashionable painters and critics. He had a strong sense of colour and excelled in the depiction of natural light, particularly the soft, fragile sunlight of the English summer. Although Tuke often finished paintings in the studio, photographic evidence shows that he worked mainly in the open air, which accounts for their freshness of colour and the realistic effects of sunlight reflected by the sea and on the naked flesh of his models.In his early paintings, Tuke placed his male nudes in  mythological contexts, but the critics found these works to be rather formal, lifeless and flaccid. From the 1890s, Tuke abandoned mythological themes and began to paint local boys fishing, sailing, swimming and diving, and also began to paint in a more naturalistic style. His handling of paint became freer, and he began using bold, fresh colour. One of his best-known paintings from this period is August Blue (1893–94; Tate, London), a study of four mostly nude youths bathing from a boat. The Looe artist, Lindsay Symington (1872–1942), modelled for the blonde boy holding onto the boat in the water; though not a regular model, Symington was a good friend of <mask>, the latter often visiting the Symington family home, Pixies' Holt, at Dartmeet. Tuke painted some female nudes but these were not as successful as his male nude paintings. Tuke's paintings of nude youths are never explicitly sexual.The models' genitals are almost never shown, they are almost never in physical contact with each other, and there is never any suggestion of overt sexuality. Most of the paintings have the nude models standing or crouching on the beach facing out to sea, so only the back view is displayed. <mask> is also regarded as an important maritime artist. Over the years, he painted many pictures of the majestic sailing ships, mainly in watercolour, that were common until the 1930s. Tuke was often fascinated with the beauty of a fully rigged ship, and since his childhood could draw them from memory. His decision to return to Falmouth in 1885 was, in part, influenced by the constant presence of the ships there. Tuke enjoyed a considerable reputation, and he earned enough money from his paintings to enable him to travel abroad and he painted in France, Italy and the West Indies.In 1900 a banquet was held in his honour at the Royal Cornwall Polytechnic Society. He was elected to the Royal Academy of Arts in 1914. Major examples of his male nudes were purchased by major art galleries including The Bathers at Leeds Art Gallery in 1890 and August Blue at the Tate, London in 1894. But he was also well known as a portraitist, and maintained a London studio to work on his commissions. Among his best known portraits is that of soldier and writer T. E. Lawrence ("Lawrence of Arabia"). Death

In later life Tuke was in poor health for many years, and died in Falmouth in 1929 and  was buried in a Falmouth cemetery close to his home. He kept a detailed diary all his life but only two volumes survived after his death and have since been published.He also kept a detailed artist's Register which survives and has been published by the Royal Cornwall Polytechnic Society in Falmouth. Legacy

After his death, <mask>'s reputation faded, and he was largely forgotten until the 1970s, when he was rediscovered by the first generation of openly gay artists and art collectors. He has since become something of a cult figure in gay cultural circles, with lavish editions of his paintings published and his works fetching high prices at auctions. Elton John is a keen collector of <mask>'s works and in 2008 loaned eleven of his own pieces, including works in oil, pastel and watercolour, for an exhibition in Falmouth. Commemoration
The student halls of residence at University College Falmouth are named after <mask>, a tribute to him as both an artist, and a famous resident of the town. At the time they were built and named, the school was known as the Falmouth College of Arts. Also in Falmouth is a collection of 279 of Tuke's works belonging to the Royal Cornwall Polytechnic Society, the largest such collection in public ownership.The bulk were donated by a single collector in the 1960s, but the Society maintains a policy of adding to the collection. Exhibitions and publications
In 2008, to mark the 150th anniversary of <mask>'s birth, there were three exhibitions of his work:
 2008-05-03 to  2008-07-12: Catching the light: the sunshine paintings of <mask> <mask>. 2008-09-06 to  2008-09-27:  Tall ships. 10 May – 12 July 2008: Catching the Light: A Retrospective of <mask> <mask>, Royal Cornwall Museum, Truro
7 June – 12 July 2008:  A Hidden Treasure Revealed: A selection of the works on paper by <mask> <mask> from the Royal Cornwall Polytechnic Society, the Royal Cornwall Museum, Truro
21 July – 28 August 2008: Catching the Light: The Art of <mask> <mask> at the Fine Art Society, New Bond Street, London
7 June - 12 September 2021 Watts Gallery https://www.wattsgallery.org.uk/whats-on/henry-scott-tuke/

Collections
H.S<mask>'s works are held in a number of galleries and museums including Tate, Hunterian Art Gallery, Grundy Art Gallery, Walker Art Gallery, Leamington Spa Art Gallery & Museum, Bodleian Libraries, Royal Academy of Arts, Guildhall Art Gallery. The papers of H.S<mask> and Thomas Cooper Gotch are also held in the Tate Archive collections (TGA 9019).The papers in the Tate Archive provide context in which Tuke worked, not just the locations of his paintings and the relationships with his models, but his artistic allegiances such as his deep friendship with the painter Thomas Cooper Gotch. Other works

References

Sources

 Cooper, Emmanuel (2003) The Life and Work of <mask> Tuke (with 35 colour and 25 monochrome plates), Heretic Books
 Falmouth Art Gallery Collection volume 6 (2005) Falmouth Tukes Falmouth Art Gallery
 Wainwright, David & Dinn, Catherine (1989) <mask> Scott Tuke 1858–1929: under canvas, Sarema Press
 Wallace, Catherine (2008) Catching the Light: the art and life of <mask> Tuke 1858–1929, Edinburgh: Atelier Books
 Wallace, Catherine (2008) Henry Scott Tuke Paintings from Cornwall, Halsgrove  (This features paintings in the collection of the Royal Cornwall Polytechnic Society.) External links

 Tuke works in Falmouth Art Gallery

1858 births
1929 deaths
19th-century English painters
20th-century English painters
Alumni of the Slade School of Fine Art
British marine artists
English Quakers
English expatriates in France
English male painters
Gay artists
LGBT artists from the United Kingdom
Newlyn School of Artists
People associated with Falmouth University
People from Falmouth, Cornwall
Royal Academicians
Henry Scott

masks:
Henry Scott Tuke
William Samuel Tuke
Tuke
William Tuke
Henry Tuke
Samuel Tuke
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Brian Tuke
Henry VIII
Maria Tuke
Henry
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Henry Scott
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Henry Scott