Raphael, one of the three masters of art, at the age of 37,
It ended a brilliant and short life.
In Raphael's paintings,
The most well-known,
It is the beautiful and noble female image he wrote.
Today, on the anniversary of Raphael's birth and death,
Let's revisit
This master of art is a delicate and remarkable portrait of women
And perceive those from it
Artistic meaning embedded in historical narratives.
"Alive, nature is afraid of being conquered by him;
He died, and he was afraid that he would die with him. ”
—Epitaph inscribed by Cardinal Pietro Bembo for Raphael
Coronation of the Virgin 267× 163 cm, 1502–1503
Along with Leonardo da Vinci and Michelangelo, Raphael Sanzio (Raffaello Sanzio, often referred to as Raphael Raphael) had a very short life, but in his 37 years of life, he showed great artistic talent and achieved extraordinary artistic achievements very early, and the portraits of the Virgin mary with dignified elegance and beautiful lines were enough to enshrine Raphael in the temple of art history for a long time.
Raphael, Madonna del Granduca (Madonna del Granduca), 1505-1506
Before Raphael, medieval religious paintings were often serious and lifeless.
Raphael used secular techniques to depict traditional religious themes as ideal beauty in real life, leaving behind classic works such as "Our Lady of the Sistine" and "Virgin in the Chair".
Raphael, Sistine Madonna, 1513
Raphael, Madonna della Sedia (Madonna della Sedia), 1514
Those quiet and idyllic female figures, his mother who died early when he was 8 years old, his mysterious lover, the daughter of the gardener he met, they shrouded in the brilliance of the world, and follow the perfect order of tranquility, harmony, harmony and symmetry, fully embodying Raphael's unique painting style and his humanistic ideas.
Raphael Triumph of Galatea (1511).
Raphael's Manuscript of the Virgin and The Son, circa 1501
Raphael, La belle jardinière (Madonna in the Garden), 1507
Raphael, Madonna della Tenda (Madonna della Tenda) (1514).
Although 500 years later, we can still feel the gentle sigh of women in those intimate and natural paintings.
Raphael is best known for his feminine and noble image of the Virgin. Unlike the expressionless, fixed posture of the Virgin and Child in the Middle Ages, Raphael portrayed women who were beautiful, gentle and vivid. Behind a series of admired paintings of the Virgin Mary, this sublime and beautiful image has a real name - Margaret Luti.
Margaret was the daughter of a baker, and she was both Raphael's lover and his inspirational muse, and the Virgin in the Chair, The Veiled Woman, and Fanarena, all based on Margaret, was derived from the Roman dialect of fornaro (baker).
The painting has an angle of three-quarters of the sides of the Mona Lisa, as well as the compositional proportions of the golden triangle, and on the woman's left arm, Raphael left her name "Raphael Vrbinas". The painting was kept in Raphael's own studio and was not published until his death.
Raphael, The Girl in the Scarf, circa 1516
The Girl in the Scarf is a masterpiece of his work with a paintbrush all his paintings during the Renaissance:
The sense of space and volume of the picture becomes real and believable, and the material and appearance of the characters' clothing are portrayed more and more realistically. Margaret's presence added romance and mystery to Raphael. Since then, successive generations of painters have also shown great interest in the theme of "Raphael and Funa Rena", leaving many related paintings.
Ingres, Raphael and Funa Rena, 1814
Under the influence of Raphael, in 1848, the Art Reform Movement arose in Britain, and this movement was also known as the Pre-Raphaelites, whose works were basically based on the traditional style of realism, and the painting style was prudent and meticulous. The English painter Frank Cadogan Cowper RA, known for his portraits, belonged to the second generation of pre-Raphaelite painters and is also known as "the last of the pre-Raphaelite painters".
As the times led to changes in the aesthetics of art, Cowper increasingly began to paint portraits and create paintings with historical and literary themes. His female figures, based on classical composition and color matching, blend the Victorian aesthetic with a unique charm that will not become obsolete.
Vanity 1907
Vanity's subject matter and composition are inspired by Italian Renaissance paintings. In the painting, the woman's eyes are slightly closed, holding a dressing mirror in her hand, and the necklace and headdress set off the woman's youthful beauty with pearlescent beauty.
The vines in the background are full of ripe fruit, suggesting abundance and joy. Although the subject matter of the painting is secular, the posture of the woman leaning against a railing is not difficult to recall the image of the Virgin and Child in Renaissance paintings.
Venetian Ladies Listening to the Serenade
Similar to the previous painting, Cowper used the same painting methods and techniques in another work. In this 1909 painting of Venetian Ladies Listening to the Serenade, three beautiful women sit on the balcony as if they were presented in a stage play, listening to a serenade.
After Raphael, countless artists inherited his creative aesthetic, even the control of female portrait brushstrokes.
Raphael, who had such an influence, ended his brilliant life at the age of 37 because of a high fever. Cardinal Pietro Benbo inscribed an epitaph: "He lives, and nature fears being conquered by him; when he dies, he fears that he will wither with him." It can be said that this sentence is the most weighty recognition and respect for a painter.
Under the brush of Raphael and the Raphael faction
Female is either beautiful or noble
Possesses a radiance of humanity that transcends nature
Perhaps "vulnerability" is synonymous with women's paintings
But in their works
Women's sense of vulnerability never represents vulnerability