Raphael Sanzio da Urbino (1483-1520) was an Italian Renaissance painter along with Michaelangelo and da Vinci. His father was court painter to the Duke of Urbino, but left his son orphaned at age 11. The courtly Raphael apprenticed early, and started his career by doing altarpieces for local churches.
In 1504 he began his “Florence period,” when his paintings, subject to da Vinci’s influence, became more animated. (Michaelangelo disliked both artists!)
In 1508 he moved to Rome where he lived until his death at 37. Immediately on arriving, Pope Julius II commissioned him to paint rooms at the Vatican. Raphael peeked secretly at Michaelangelo’s work on the Sistine Chapel and incorporated many style points from him.
He also ran “a very harmonious and efficient workshop,” the largest of the time. He was an amazing draughtsman and would make many cartoons in different poses and compositions before giving one to his workmen to paint.
I am impressed by Rafael’s shameless incorporation of other artists' style and technique into his paintings. The people I personally am surrounded with regard this sort of thing as “cheating,” but as an art teacher, I try to impress on my students that, in art, you learn by imitation. It’s such a physical occupation, and your hands and eye need training just as much or more than your brain does. I see this with my 90-year-old mother, who was an illustrator but now has Alzheimer’s. She responds at once to art even though anything else leaves her vacant. Her body remembers, even though her brain can’t.
Like Damien Hurst’s, Raphael’s workshop strategy leads to questions of authorship. I think that’s another thing that it would be interesting to discuss with my students.
As far as Raphael’s oeuvre, meh. They’re standard Renaissance paintings, and I like them well enough but have nothing to say about them.
In 1504 he began his “Florence period,” when his paintings, subject to da Vinci’s influence, became more animated. (Michaelangelo disliked both artists!)
In 1508 he moved to Rome where he lived until his death at 37. Immediately on arriving, Pope Julius II commissioned him to paint rooms at the Vatican. Raphael peeked secretly at Michaelangelo’s work on the Sistine Chapel and incorporated many style points from him.
He also ran “a very harmonious and efficient workshop,” the largest of the time. He was an amazing draughtsman and would make many cartoons in different poses and compositions before giving one to his workmen to paint.
I am impressed by Rafael’s shameless incorporation of other artists' style and technique into his paintings. The people I personally am surrounded with regard this sort of thing as “cheating,” but as an art teacher, I try to impress on my students that, in art, you learn by imitation. It’s such a physical occupation, and your hands and eye need training just as much or more than your brain does. I see this with my 90-year-old mother, who was an illustrator but now has Alzheimer’s. She responds at once to art even though anything else leaves her vacant. Her body remembers, even though her brain can’t.
Like Damien Hurst’s, Raphael’s workshop strategy leads to questions of authorship. I think that’s another thing that it would be interesting to discuss with my students.
As far as Raphael’s oeuvre, meh. They’re standard Renaissance paintings, and I like them well enough but have nothing to say about them.
"Portrait of a Young Woman" is an affectionate and delicate depiction of a lovely woman. Her eyes are emphasized, and the pink and brown tones of the painting draw attention to them. Her hand cups her breast in an innocent gesture which makes her seem all the more appealing. I imagine Raphael was in love with this lady, at least for the time he was painting her.
This painting is a masterpiece, in my opinion, because it has all the force of kitsch–the big eyes, the sexiness, the innocence, the glowing skin tones. Yet, there is something more to it than just tugging at our primitive side. The woman's seriousness of expression, the limited palette, the sumptuousness of the fabric combined with those hands that have seen a bit of work in their day, these all give it a depth that keeps me coming back to it.
This painting is a masterpiece, in my opinion, because it has all the force of kitsch–the big eyes, the sexiness, the innocence, the glowing skin tones. Yet, there is something more to it than just tugging at our primitive side. The woman's seriousness of expression, the limited palette, the sumptuousness of the fabric combined with those hands that have seen a bit of work in their day, these all give it a depth that keeps me coming back to it.
Raphael Lesson
Lesson Title: Raphael and his Workshop
Grade: K - 9 self-contained classroom
Key Vocabulary: Limited palette, altarpieces, court painter, Vatican, cartoon, workshop, plagiarism
Visuals/Resources: Raphael [Paperback] by Roger Jones and Dr. Nicholas Penny; Web images of Raphael's works
Connections to Prior Knowledge: We are talking about "cheating" vs. "collaboration." Raphael's workshop strategy for producing art raises interesting questions. The kids have made pizzas for sale, using an assembly line technique. Were they cheating?
Content Objectives: 1. Develop a collaboration ethic. 2. paint with a partner(s) and 3. create a masterwork with a partner or with the whole group.
Meaningful Activities: 1. Mini-lecture on Raphael's workshop. Discussion of plagiarism vs cheating vs workshops: making pizza 2. 15-minute stations: learn one piece of Raphael's style. Collaborate with one or two other students to complete drawings. 3. 30-minute masterwork session: choose an overall "look" (young lady? courtly gentleman?). Form an assembly-line to make a picture. Each student will paint their specialty in each of the journals, resulting in a spectacular whole.
Supplies: Teacher-made exemplars.
Review/Assessment: Art journal
Language Objective: Use appropriate vocabulary when sharing journal.
Grade: K - 9 self-contained classroom
Key Vocabulary: Limited palette, altarpieces, court painter, Vatican, cartoon, workshop, plagiarism
Visuals/Resources: Raphael [Paperback] by Roger Jones and Dr. Nicholas Penny; Web images of Raphael's works
Connections to Prior Knowledge: We are talking about "cheating" vs. "collaboration." Raphael's workshop strategy for producing art raises interesting questions. The kids have made pizzas for sale, using an assembly line technique. Were they cheating?
Content Objectives: 1. Develop a collaboration ethic. 2. paint with a partner(s) and 3. create a masterwork with a partner or with the whole group.
Meaningful Activities: 1. Mini-lecture on Raphael's workshop. Discussion of plagiarism vs cheating vs workshops: making pizza 2. 15-minute stations: learn one piece of Raphael's style. Collaborate with one or two other students to complete drawings. 3. 30-minute masterwork session: choose an overall "look" (young lady? courtly gentleman?). Form an assembly-line to make a picture. Each student will paint their specialty in each of the journals, resulting in a spectacular whole.
Supplies: Teacher-made exemplars.
Review/Assessment: Art journal
Language Objective: Use appropriate vocabulary when sharing journal.