Rafael Santi. Early work

Rafael Santi. Early creativity.
Paintings "Dream of a knight" and "Three graces". Altarpiece "Betrothal of Mary".

The early works of Raphael Santi, dating back to 1504, include two small, only 17 centimeters high, paintings - the mysterious “Dream of a Knight” and “Three Graces”. Their identical size suggests that both paintings were a pair. No information about the history of the creation of these paintings has been preserved. But the very plot of the paintings suggests that, most likely, they were timed to coincide with some significant event (for example, confirmation) in the life of a young aristocrat and, perhaps, became Raphael's first commissioned works.

The very choice of a medieval knight by Raphael indicates the influence of the traditions and poetry of the Renaissance on him.

In the center of the picture is the figure of a sleeping young man, flanked by two women: on the left with a sword and a book, on the right - in smart clothes and with a flower in her hand. It is quite obvious that they offer the young knight to make a choice between a harsh, virtuous life, the hardness of which is symbolized by the mountainous landscape on the left side of the picture, and a fun pastime.

on the picture: Raphael, The Knight's Dream

Looking at the paired picture “Three Graces”, you understand that this young knight was offered a really difficult choice: in ancient mythology, beautiful sensual graces were the embodiment of beauty and charm.

Rafael Santi. Early work

on the picture: Raphael, "Three Graces"

Towards the end of his studies in the workshop of Perugino, Raphael painted the altarpiece "Betrothal of Mary".

The painting was commissioned by the wealthy Albizzini family of Citta di Castello for their family chapel in the church of San Francesco. This is the artist's earliest dated work and was made by Raphael himself: in the background there is Raphael's signature and the date written in Roman numerals. Pleased to note that the work is well preserved. The theme of the painting is taken from a medieval legend that several suitors claimed the hand of the Virgin Mary. According to the tradition of that time, the grooms held wands in their hands during the matchmaking. But only Joseph's rod blossomed right in his hands, and, thanks to this miraculous sign, he was chosen as the bridegroom of Mary. In the right corner of the picture, Raphael depicted one of the rejected suitors, who, with annoyance, breaks his own rod on his knee. The choice of plot is not accidental, it was very popular in the homeland of Raphael, because a shrine was kept in the cathedral in Perugia - the wedding ring of the Virgin Mary.

on the picture:Perugino, The Marriage of Our Lady»

At one time, Perugino, whose paintings were distinguished by a deep religious content, also painted a picture on this subject. Taking into account the strong attention of the teacher to the student, one should not be surprised that Raphael took the composition of Perugino as the basis of his painting.

Having chosen the same plot and composition of the picture, Raphael involuntarily entered into a kind of competition with his teacher. Comparison of these two paintings clearly shows that the young artist successfully overcame the influence of Perugino, developing the qualities that will form the basis of his artistic conception - the clarity of optical representations and the mastery of spatial fantasy. In the composition of the painting "The Betrothal of Mary" everything is reduced to the "golden measure" (A. Benois), nothing distracts from the main group of Mary and Joseph. And the architectural decoration plays the role of an important basis for the entire composition, and not just a space-organizing background.

The altarpiece "Betrothal of Mary" is a picture of amazing beauty and enlightened sadness, which reveals the main spiritual theme of Raphael's Madonna - humility and complete surrender to the power of a higher principle. For Raphael, the painting "Betrothal" became the "Rubicon" in his work, overcoming which he realized his strength and his desire for classical ideals.

Rafael Santi. Early work

on the picture: Raphael, The Betrothal of Mary

Raphael's talent was noted and recognized when the artist was only 17 years old. His success lay in his personal qualities, in his diligence: when it came to teaching, he did nothing by halves. At this time, in Florence, which was at the forefront of the classical style, Leonardo da Vinci and Michelangelo worked, promoting and developing the principles of the classical school. Logic suggested what to do next: Raphael decided to go through a classical school with its founders themselves. Only Florence could provide the necessary conditions for this. And in 1504, Raphael left the workshop of Perugino. But the student forever retained love and appreciation for the teacher. In his "School of Athens" he portrayed himself next to Perugino, as if regretting that he could not always be with him.

Rafael Santi. Early work

on the picture: Raphael, "School of Athens"

photos from sites: rodon.org, easyartsymbols.blogspot.com, n-i-r.su, visitsitaly.com, jackiewhiting.net

Read about the “Perugino period” in the work of Rafael Santi on portal 2queens. en - in the following materials by Lyudmila Veligorskaya!