La Vierge de Lorette de Raphaël《洛莱特圣母》, 收藏於尚蒂伊城堡（Chateau de Chantilly)的孔代博物馆 (Musée Condé) 。原画是拉斐尔于1509-1510年为罗马人民圣母圣殿（意大利語：Santa Maria del Popolo) 教堂绘作的。直到1976年，这幅画一直被视为丢失原件的副本。 在其修复过程中，确定了在画的一角刻有数字133，该数字与拉斐尔的原著在罗马的Borghese藏品中的数字相对应。
在1504年，21歲的拉斐尔繪畫了《聖母的婚禮（意大利语：Sposalizio della Vergine ）》。此作品甚至超越了佩鲁吉诺，不論是構圖或形象塑造也有創新。尤其是作品中聖母玛利亚及其夫约瑟的端庄、文雅、画面之平衡和背景描绘，均为罕见的作品。(zh.wikipedia org/拉斐尔)
The painting, dating from 1504, was moved from the Church of San Francesco in Città di Castello to the Pinacoteca in 1805. Raphael painted the Marriage of the Virgin having in mind the altarpiece with the same subject by Perugino, which is conserved at the Musée des Beaux-Arts in Caen. Raphael took inspiration from it, using its composition structure and iconography to obtain a result of incredible and unachievable perfection.
Infrared reflectography reveals a dense set of lines converging on the temple door. These lines define the image perspective system, fully abiding by the recommendations contained in the De prospectiva pingendi (On the Perspective of Painting) by Piero della Francesca. Thanks to this artifice, the temple becomes the visual centre of the composition. The figures are placed in a semicircle, and their position balances the convex line of the architecture, which has been painted with such a precision that scholars have speculated the existence of a wood model.
All elements are connected to each other by mathematical relations of proportion and placed according to a clear, logical hierarchical order, while Perugino had only juxtaposed the composition elements within a correct perspective structure. The realisation of this coherent organism perfectly demonstrate Raphael’s vision. He intended beauty as an abstract order of geometrical representation and thought that artists had the duty of “making things not as Nature makes them, but as Nature should.” (Pinacotecabrera.org)
This painting has been acknowledged as the self-portrait of Raphael as a young man, also based on the comparison between this work and the other self-portrait of the painter visible in the fresco depicting the School of Athens in the Room of the Segnatura in the Vatican, commissioned by Pope Julius II and painted between 1509 and 1511. Although painted using different techniques, in both portraits the artist portrays himself with an identical expression and features. His hairstyle and cut are those typical of the court page of the Renaissance and his dark cap, in the style later known as “raffaella”, is of the kind used by painters, as is his dark robe, from which a white shirt is barely visible underneath. In short, he is wearing his simple working attire, an intentional allusion to his trade, which he proudly proclaims here in this way. His dark eyes and graceful features serve to confirm the enthusiastic judgement passed by Vasari on the master from Urbino in his work “the Lives”, praising his “grace, study, beauty and excellent clothes” and his perfection as an artist, and comparing it to that of the painters Zeuxis and Apelles, remembered as the greatest painters of the classical world.
The authorship of the painting was definitely established by the investigations carried out on it in 1983, for the exhibition staged in Palazzo Pitti to celebrate the centenary of Raphael’s birth. On this occasion, using reflectography, researchers were able to view the preparatory drawing and how the colour was applied, observing an exquisite refined technique that consisted in building the picture by applying shiny translucent glazes to a white primed background. These elements confirm the artist’s interest in the Flemish painting of the same age, extremely popular in the court of Urbino, where famous Nordic painters such as Justus van Gent and Pedro Berruguete had stayed.
The fortune of this painting is certainly linked to the legend of Raphael, who had been celebrated when still alive and almost mythicized after his precocious death at the age of only thirty-seven years old in 1520.
The surviving documents tell us that the work comes from Urbino, Raphael’s city of birth, where it was located until 24 September 1652, in the “room” of Vittoria della Rovere, daughter of the last Duke of Urbino and Claudia de’Medici. The fact that the lords of Urbino would have wanted the effigy of Raphael in their rich collection is plausible: in fact, not only was he an outstanding painter, but he was also a source of pride and glory for the city in which he had been born. In the 1630s, Vittoria della Rovere, betrothed to her cousin Ferdinando II de’Medici while still a child, brought the finest masterpieces of her family’s collection to Florence as her dowry. The self portrait was then registered (1663-1667) as one of the “Portraits of painters painted by their own hand” collected by cardinal Leopoldo de’Medici, the first nucleus of his extensive collection in the Uffizi, which still exists and has grown, famous worldwide as the largest, richest collection of its kind.
Although it is not clear how the painting ended up in the hands of the cardinal, it is reasonable to think that it was a gift from his sister-in-law Vittoria della Rovere, rather than believe that it was purchased by the prelate of the Academy of San Luca in Rome. (Uffizi.it)作者: ngsunyu 时间: 2020-12-6 00:36 本帖最后由 ngsunyu 于 2020-12-6 00:40 编辑
1508年，拉斐尔被教宗儒略二世邀請繪畫梵蒂岡壁畫，其中位於簽字廳（英语：Stanza della Segnatura）的壁画最傑出。这些壁画分别代表了神學、哲學、詩學和法學這四样人类精神活动，作品表現與建築裝飾的充分和諧，莊重顯明、豐富多彩。(zh.wikipedia org/拉斐尔)
The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls. Under Leo X (pontiff from 1513 to 1521) the room was used as a small study and music room, in which the pontiff also kept his collection of musical instruments. The original furnishings of the time of Julius II were removed and replaced with a new wooden wainscot, the work of Fra Giovanni da Verona. The wood covered all the walls with the exception of that of the Parnassus, where, for reasons of space, the same decoration, still visible today, was painted in fresco. The wooden wainscot was probably destroyed following the Sack of Rome in 1527 and in its place, during the pontificate of Paul III (pontiff from 1534 to 1549) a wainscot in chiaroscuro was painted by Perin del Vaga. (museivaticani.va)
《雅典學院》（The School of Athens），1509年，收藏於梵諦岡宮簽字大廳。(zh.wikipedia org/拉斐尔)
The most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter. Some of these are easily recognizable. In the centre Plato points upwards with a finger and holds his book Timeus in his hand, flanked by Aristotle with Ethics; Pythagoras is shown in the foreground intent on explaining the diatesseron. Diogenes is lying on the stairs with a dish, while the pessimist philosopher, Heracleitus, a portrait of Michelangelo, is leaning against a block of marble, writing on a sheet of paper. Michelangelo was in those years executing the paintings in the nearby Sistine Chapel. On the right we see Euclid, who is teaching geometry to his pupils, Zoroaster holding the heavenly sphere and Ptolemy holding the earthly sphere. The personage on the extreme right with the black beret is a self-portrait of Raphael. (museivaticani.va)作者: ngsunyu 时间: 2020-12-27 00:17 本帖最后由 ngsunyu 于 2020-12-27 00:38 编辑
右下角拉斐尔身旁白衣少年是當時教皇的侄子、有名的藝術愛好者烏爾比諾公爵弗朗切斯科·瑪麗亞一世·德拉羅維雷（英语：Francesco Maria I della Rovere, Duke of Urbino）。(zh.wikipedia.org/雅典學院 (畫作) 作者: ngsunyu 时间: 2020-12-27 00:17 本帖最后由 ngsunyu 于 2020-12-27 00:37 编辑
《聖禮的爭辯》（Disputation of the Sacrament），1509年-1510年，收藏於梵諦岡宮簽字大廳。(zh.wikipedia org/拉斐尔)
On the wall opposite the School of Athens, corresponding to Theology, is the fresco of the so-called Disputation of the Most Holy Sacrament, the title of which should more rightly be that of the Triumph of Religion. At the sides of the Most Holy Trinity (with God the Father, Christ between the Virgin and St John the Baptist, and the Holy Spirit in the centre) is the Triumphant Church, with patriarchs and prophets of the Old Testament alternated with apostles and martyrs, seated in a hemicycle on the clouds. The personages are (from left to right for the viewer). St Peter, Adam, St John the Evangelist, David, St Laurence, Judas Maccabees, St Stephen, Moses, St James the elder, Abraham, St Paul. On the ground, at the sides of the altar on which the Most Holy Sacrament dominates, is the Militant Church. On the marble thrones closest to the altar sit four Fathers of the Latin Church: St Gregory the Great (a portrait of Julius II), St Jerome, St Ambrose and St Augustine. Some other figures have the physiognomy of historical personages. We recognize the portrait of Sixtus IV (Julius II's uncle) in the pontiff furthest to the right, of Dante Alighieri behind him and of Fra Angelico in the monk on the extreme left. (museivaticani.va)作者: ngsunyu 时间: 2020-12-27 00:19 本帖最后由 ngsunyu 于 2020-12-27 00:36 编辑
《聖禮的爭辯》（Disputation of the Sacrament），1509年-1510年，收藏於梵諦岡宮簽字大廳。(zh.wikipedia org/拉斐尔)
On the wall opposite the School of Athens, corresponding to Theology, is the fresco of the so-called Disputation of the Most Holy Sacrament, the title of which should more rightly be that of the Triumph of Religion. At the sides of the Most Holy Trinity (with God the Father, Christ between the Virgin and St John the Baptist, and the Holy Spirit in the centre) is the Triumphant Church, with patriarchs and prophets of the Old Testament alternated with apostles and martyrs, seated in a hemicycle on the clouds. The personages are (from left to right for the viewer). St Peter, Adam, St John the Evangelist, David, St Laurence, Judas Maccabees, St Stephen, Moses, St James the elder, Abraham, St Paul. On the ground, at the sides of the altar on which the Most Holy Sacrament dominates, is the Militant Church. On the marble thrones closest to the altar sit four Fathers of the Latin Church: St Gregory the Great (a portrait of Julius II), St Jerome, St Ambrose and St Augustine. Some other figures have the physiognomy of historical personages. We recognize the portrait of Sixtus IV (Julius II's uncle) in the pontiff furthest to the right, of Dante Alighieri behind him and of Fra Angelico in the monk on the extreme left. (museivaticani.va)作者: ngsunyu 时间: 2020-12-27 00:20 本帖最后由 ngsunyu 于 2021-1-1 01:46 编辑
The ceiling is divided into four sections dedicated to each of the faculties of the spirit, represented with female allegories: Philosophy, Theology, Poetry and Justice. The same concepts are revisited and explored further in the great compositions on the surrounding walls. Theology to Disputation of the Holy Sacrament. (museivaticani.va). 作者: ngsunyu 时间: 2021-1-1 01:46 本帖最后由 ngsunyu 于 2021-1-1 01:49 编辑
The ceiling is divided into four sections dedicated to each of the faculties of the spirit, represented with female allegories: Philosophy, Theology, Poetry and Justice. The same concepts are revisited and explored further in the great compositions on the surrounding walls. Philosophy corresponds to perhaps the most famous work by Raphael, the School of Athens. (museivaticani.va). 作者: ngsunyu 时间: 2021-1-1 01:50 本帖最后由 ngsunyu 于 2021-1-1 01:57 编辑
Beneath Poetry, Mount Parnassus is represented: the god Apollo, seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom Homer (blind), Virgil and Dante are easily recognisable behind him, as well as the poetess Sapphos seated at the bottom left, with her name written on the scroll she holds in her left hand. (museivaticani.va)作者: ngsunyu 时间: 2021-1-1 01:51 本帖最后由 ngsunyu 于 2021-1-1 02:48 编辑
On the wall opposite the Parnassus, corresponding to Justice, is an illustration of the Cardinal Virtues (Fortitude, Prudence and Temperance) and the Theological Virtues (Faith, Hope and Charity) in the lunette above, and below, at the sides of the window, the Delivery of the Pandects to the Emperor Justinian (on the left) and the The pontiff is a portrait of the Pope who had commissioned the work, Julius II (pontiff from 1503 to 1513), while the cardinals beside him are Giovanni de' Medici and Alessandro Farnese, the future Popes Leo X (pontiff from 1513 to 1521) and Paul III (pontiff from 1534 to 1549). The painting of the Delivery of the Pandects to the Emperor Justinian is by Lorenzo Lotto. (museivaticani.va)作者: ngsunyu 时间: 2021-1-10 11:17 本帖最后由 ngsunyu 于 2021-2-10 15:34 编辑
《伽拉忒亚的凱旋（英语：Triumph of Galatea , 意大利語：Trionfo di Galatea）》，1512年-1514年，收藏於羅馬法爾內西納別墅 (意大利語：Villa Farnesina)。(zh.wikipedia org/拉斐尔)
Cardinal Giulio de' Medici (the future pope Clement VII) commissioned two paintings for the cathedral of S. Giusto of Narbonne, the city of which he had become bishop in 1515. The Transfiguration was entrusted to Raphael, and the Raising of Lazarus (now in the National Gallery of London) to Sebastiano del Piombo. The Transfiguration was not sent to France because after Raphael's death (1520), the cardinal kept it for himself, subsequently donating it to the church of S. Pietro in Montorio where it was placed over the high altar. In 1797, following the Treaty of Tolentino, this work, like many others, was taken to Paris and returned in 1816, after the fall of Napoleon. It was then that it became part of the Pinacoteca of Pius VII (pontiff from 1800 to 1823).
The altarpiece illustrates two episodes narrated in succession in the Gospel according to Matthew: the Transfiguration above, with Christ in glory between the prophets Moses and Elijah, and below, in the foreground, the meeting of the Apostles with the obsessed youth who will be miraculously cured by Christ on his return from Mount Tabor.
This is Raphael's last painting and appears as the spiritual testament of the artist. The work is considered in his biography, written by the famous artist and biographer of the 16th century, Giorgio Vasari, "the most famous, the most beautiful and most divine". (museivaticani.va)作者: ngsunyu 时间: 2021-1-17 14:21 本帖最后由 ngsunyu 于 2021-1-17 14:23 编辑
The upper register of the painting shows the Transfiguration itself (on Mount Tabor, according to tradition), with the transfigured Christ floating in front of illuminated clouds, between the prophets Moses, on the right, and Elijah, on the left, with whom he is conversing (Matthew 17:3). 作者: ngsunyu 时间: 2021-1-24 00:36 本帖最后由 ngsunyu 于 2021-1-24 00:37 编辑
In the lower register, Raphael depicts the Apostles attempting to free the possessed boy of his demonic possession. They are unable to cure the sick child until the arrival of the recently transfigured Christ, who performs a miracle. The youth is no longer prostrate from his seizure but is standing on his feet, and his mouth is open, which signals the departure of the demonic spirit. As his last work before this death, Raphael, joins the two scenes together as his final testament to the healing power of the transfigured Christ. According to Goethe: "The two are one: below suffering, need, above, effective power, succour. Each bearing on the other, both interacting with one another." (en.wikipedia.org/wiki/Transfiguration_(Raphael)作者: ngsunyu 时间: 2021-1-24 00:38 本帖最后由 ngsunyu 于 2021-1-24 00:40 编辑
In the centre are four apostles of different ages. The blonde youth appears to echo the apostle Philip from The Last Supper. The seated older man is Andrew. Simon is the older man behind Andrew. Judas Thaddeus is looking at Simon and pointing towards the boy.
The apostle on the far left is widely considered to be Judas Iscariot He was the subject of one of only six surviving so-called auxiliary cartoons, first described by Oskar Fischel in 1937. (en.wikipedia.org/wiki/Transfiguration_(Raphael) 作者: ngsunyu 时间: 2021-1-24 00:39 本帖最后由 ngsunyu 于 2021-1-24 00:41 编辑
The man lower left is the apostle-evangelist Matthew, depicted at eye-level and serving as interlocutor with the viewer.Matthew (or Andrew) gestures to the viewer to wait, his gaze focused on a kneeling woman in the lower foreground. She is ostensibly a part of the family group, but on closer examination is set apart from either group. She is a mirror image of a comparable figure in Raphael's The Expulsion of Heliodorus from the Temple (1512). Giorgio Vasari, Raphael's biographer, describes the woman as "the principal figure in that panel". She kneels in a contrapposto pose, forming a compositional bridge between the family group on the right and the nine apostles on the left. Raphael also renders her in cooler tones and drapes her in sunlit pink, while he renders the other participants, apart from Matthew, oblivious to her presence. The woman's contrapposto pose is more specifically called a figura serpentinata or serpent's pose, in which the shoulders and the hips move in opposition; one of the earliest examples being Leonardo da Vinci's Leda (c. 1504), which Raphael had copied while in Florence. (en.wikipedia.org/wiki/Transfiguration_(Raphael)作者: ngsunyu 时间: 2021-1-26 21:52 本帖最后由 ngsunyu 于 2021-1-26 21:55 编辑
On the simplest level, the painting can be interpreted as depicting a dichotomy: the redemptive power of Christ, as symbolised by the purity and symmetry of the top half of the painting; contrasted with the flaws of Man, as symbolised by the dark, chaotic scenes in the bottom half of the painting. (en.wikipedia.org/wiki/Transfiguration_(Raphael)作者: ngsunyu 时间: 2021-1-26 21:56
意大利邮商用自印明信片。