Raphael, ラファエロ・サンティ
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ラファエロ・サンティ（Raffaello Santi (Raphaelとも書く), 1483年4月6日 - 1520年4月6日）は、盛期ルネサンス期を代表する画家、建築家。ミケランジェロが偉大な改革者であるのに対し、ラファエロはそれまでの芸術手法を統合、洗練して、女性的で優雅な様式を確立した、総合芸術の天才であると言える。その資質は彼の死後も賞賛され、模倣された。
目次
[非表示]
1 生涯
2 影響
3 代表作
4 関連項目
生涯
自画像
1483年、宮廷画家ジョヴァンニ・サンティの子としてウルビーノに生まれ、父親から絵画の教育を受けた。ジョルジョ・ヴァザーリによれば、幼少期にペルージャのピエトロ・ペルジーノに師事したことになっているが、ペルジーノに大きな影響を受けたのは事実であるものの、今日ではこの逸話は否定されている。1501年に、チッタ・ディ・カステッロのサン・タゴスティーノ教会祭壇画（今日では断片のみが残る）を完成させ、1504年にはアルビッツィーニ家の発注による『聖母の結婚』を作成した。この頃の作品としては、ほかに『騎士の幻想』などがある。これらの作品はペルジーノの作風を残してはいるものの、すでにそれを完全に超越している。
1504年、彼はフィレンツェに拠点を移し、ペルージャやウルビーノに滞在して作品を残した。フィレンツェ滞在中に、『マッダレーナ・ドーニの肖像』、1507年には『美しき女教師』、1508年にはサント・スピリト教会の『天蓋の聖母』を作成した。この頃の作風は、レオナルド・ダ・ヴィンチの様式を吸収し、フラ・バルトロメオの影響を受けて力強く堂々としたものに変化していた。
ドナト・ブラマンテの勧めで1508年にローマを訪れた彼は、教皇ユリウス2世に雇われ、1509年からヴァティカーノ宮殿の署名の間（特に有名なものとしてフラスコ画『アテナイの学堂』が挙げられる）、ヘリオドロスの間を手がけた。彼は、ローマで自らの様式を開花させ、1512年頃と推測される『サン・シストの聖母』をはじめとする傑作を数多く作成した。また、同時期にサン・エリジオ・デッリ・オレフェチ教会の設計を行い、建築家としての経歴もスタートさせている。1512年にはサンタ・マリア・デル・ポポロ教会のキージ家礼拝堂、1515年にはパラッツォ・ブレッシャーノ・コスタ、1517年にはパラッツォ・パンドルフィニの設計に携わった。
彼は、従順で仕事をそつなくこなしたので多くのパトロンを持ち、1512年には、ユリウス2世の『肖像』、銀行家キージ家の依頼で『ガラテイアの勝利』、1517年には教皇レオ10世とジュリオ・ディ・メディチ枢機卿、ルイージ・ディ・ロッシ枢機卿の『肖像』を仕上げた。1514年、ブラマンテの死によって、サン・ピエトロ大聖堂の主任建築家に任命され、1517年には、ローマ古物監督責任者に推挙されるなど、芸術家としては異例の富と権力を手中にしたが、1520年、誕生日でもある日、37歳の若さで亡くなった。ヴァザーリは性愛の楽しみが過ぎたためだ、と書き残している。墓は、パンテオンにある。
影響
アテナイの学堂（部分）
レオナルド・ダ・ヴィンチ、ミケランジェロと並び、西洋絵画の古典として後の世代の画家に多大な影響を与えた。代表作『アテナイの学堂』（de:Die Schule von Athen）は、ヴァティカーノ宮殿に4部屋ある「ラファエロの間」のうちの「署名の間」を飾る壁画。当時の教皇ユリウス2世の委嘱を受けて制作したもので、当時ラファエロは20歳代半ばの若さであった。古代ギリシアの哲学者、科学者などを描いた『アテナイの学堂』の画面の中央に位置するのはプラトンとアリストテレスで、それぞれレオナルド・ダ・ヴィンチ、ミケランジェロがモデルとされている。
彼の建築に対する興味も、『アテナイの学堂』に見られる格間ヴォールトの正確さによって明らかである。ラファエロの設計した建築はドナト・ブラマンテの影響が強いが、より繊細で明確なもので、特に室内装飾は優美で、後世に与えた影響は大きかった。
代表作
小椅子の聖母（1514-16頃）（フレンツェ、ピッティ美術館）
アテネの学堂（1508-11）（ヴァチカン宮殿）
聖母子（美しき女庭師）（1507）（ルーヴル美術館）
キリストの変容（1518-20）（ヴァチカン絵画館）
The surname Sanzio derives from the latinization of the Italian, Santi, into Santius (also, when signing solely using his baptismal name, "Raphael"). His father, Santi Giovanni, was also a painter in the court of Urbino.
In 1491 his mother Ma`gia died and his father then died on 1 August 1494. Thus orphaned at eleven, Raffaello was entrusted to his uncle Bartolomeo, a priest. He had already shown talent, as recounted by his contemporary Giorgio Vasari - he tells that since childhood Raphael had been "a great help to his father". Unfortunately it is not known precisely how Raphael assisted and, lacking any documentation on this part of his life, his formative phase remains unknown.
Nevertheless, in Urbino he came into contact with the works of Uccello and Signorelli. The most obvious influence on his early first works is that of Pietro Vannucci, aka Perugino. According to Vasari, on a trip to Perugia with his father, Raphael impressed Perugino.
His first documented work was an altarpiece for the church of San Nicola of Tolentino in Castello, a town halfway between Perugia and Urbino. It was ordered in 1500 and finished in 1505 (it was later seriously damaged during an earthquake in 1789 and today only fragments of it remain). In the following years he painted works for other churches there (like the Wedding of the Virgin, today at Brera) and for Perugia.
In 1504 he went to Florence, where he learned lessons from Leonardo da Vinci and Michelangelo. He spent a large part of 4 years there (the so-called "Florentine period"), but continued to travel to and work in other places (Perugia, Urbino and perhaps also Rome). He made friends with the local painters, particularly Bartolomeo, one of those who influenced him to leave behind the thin style and graceful of the Perugino for more grandiose and powerful forms.
At the end of 1508, he moved permanently to Rome and was immediately commissioned by Julius II to paint some of the rooms at his palace at the Vatican. This marked a turning point - beforehand he was only twenty-five years old, an artist in formation, and had not received commissions of such importance and prestige. He well exploited the situation, and remained almost exclusively in the service of Julius and his successor Leo X
In 1514 he was named architect of the new St Peter's. Much of his works there were altered or demolished after his death, but he built other buildings and for a short while he was the most important architect in Rome, as well as the most important painter. In 1515 he was entrusted with the preservation and recording of the Vatican collections of ancient sculpture.
After his arrival in Rome portraits became a secondary task for Raphael as he devoted his efforts to the great Vatican projects, although he still painted portraits of his 2 main patrons, the two popes Julius II and his successor Leo X, the latter being considered one of his finest portraits.
One of his most important papal commissions was the series of 10 cartoons for tapestries with scenes of the lives of Saint Paul and Saint Peter, intended as wall decoration for the Sistine Chapel. The cartoons were sent to Bruxelles to be sewn in the workshop of Pier van Aelst; the first three tapestries were sent to Rome in 1519. It is possible that Raphael saw the finished series before his death ― they were completed in 1520 for Leo X.
Sybils, fresco in the church of Santa Maria della Pace in Rome.
Raffaello, who in Rome lived in Borgo, never married, but it appears that in 1514 he was engaged to Maria Bibbiena (a cardinal's granddaughter), which was terminated by her death. The other woman to his name is "La Fornarina", a beauty named Margherita, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at via del Governo Vecchio 48. According to Vasari his premature death on Good Friday, 6 April, 1520, was caused by a night of excessive sex with her, after which he fell into a fever and, not telling his doctors that this was its cause, was given the wrong cure, which killed him. Whatever the cause, in his acute illness Raffaelo had the wit to receive the last rites, and put his affairs in order. He took the care to dictate his will in which he left sufficient funds for her care, entrusted to his loyal servant Bavera. Vasari underlines that Raphael was also born on a Good Friday, in 1483, on 27th or 28th March. As he had asked, he was buried in the Pantheon. Art historians and doctors debate whether the right hand on the left breast in La Fornarina reveal a cancerous breast tumour detailed and disguised in a classic pose of love [1].
Raphael was highly admired by his contemporaries. When compared to Michelangelo and Titian, he was sometimes considered inferior to those masters. At the same time, it was maintained that none of them shared all the qualities possessed by Raphael, "ease" in particular.
La Fornarina.
Madonna with the Fish.
Portrait of Julius II.
Spasimo.
Portrait of Baldassare Castiglione.
Saint George.
Chronology of main works
Angel (fragment of the Baronci Altarpiece) (1500-1501) - Oil on wood, 31 x 27 cm, Pinacoteca Civica Tosio Martinengo, Brescia, Italy
Angel (fragment of the Baronci Altarpiece) (1500-1501) - Oil on wood, 57 x 36 cm, Louvre, Paris
St. Sebastian (1501-1502) - Oil on wood, 43 x 34 cm, Accademia Carrara, Bergamo
The Crowning of the Virgin (Oddi Altar) (c. 1501-1503) - Oil on canvas, 267 x 163 cm, Pinacoteca Vaticana, Vatican, Rome
The Annunciation (Oddi Altar, predella) (c. 1501-1503) - Oil on canvas, 27 x 50 cm, Pinacoteca Vaticana, Vatican, Rome
The Adoration of the Magi (Oddi Altar) (c. 1501-1503) - Oil on canvas, 27 x 150 cm, Pinacoteca Vaticana, Vatican, Rome
The Presentation in the Temple (Oddi Altar, predella) (c. 1501-1503) - Oil on canvas, 27 x 50 cm, Pinacoteca Vaticana, Vatican, Rome
Portrait of a Man - Oil on wood, 45 x 31 cm, Galleria Borghese, Rome
Madonna Solly (Madonna with the Child) (1500-1504) - Oil on tablet, 53 x 38 cm, Staatliche Museen zu Berlin
Mond Crucifixion (Citta` di Castello Altarpiece) (1501-1503) - Oil on wood, 281 x 165 cm, National Gallery, London
Three Graces (c. 1501-1505) - Muse´e Conde´, Chantilly, France
St. Michael (c. 1501) - Louvre, Paris
The Connestabile Madonna (1502-1503) - Tempera on wood, 17,5 x 18 cm, The Hermitage, St. Petersburg
Madonna and Child (1503) - Oil on wood, 55 x 40 cm, Norton Simon Museum of Art, Pasadena
The Marriage of the Virgin (1504) - Oil on roundheaded panel, 174 x 121 cm, Pinacoteca di Brera, Milan
Portrait of Elisabetta Gonzaga (c. 1504) - Oil on wood, 52,9 x 37,4 cm, Uffizi, Florence
Vision of a Knight (1504) - Egg tempera on poplar, 17.1 x 17.1 cm, National Gallery, London
St. George (1504) - Oil on tablet, 31 x 27 cm, Louvre, Paris
Madonna and Child Enthroned with Saints (Colonna Altarpiece), (1504-1505) - Tempera and gold on wood, 172,4 x 172,4 cm (main panel), Metropolitan Museum of Art, New York
Portrait of Pietro Bembo (c. 1504) - Oil on wood, 54 x 69 cm, Museum of Fine Arts, Budapest
Portrait of Perugino (c. 1504) - Tempera on wood, 57 x 42 cm, Uffizi, Florence
Self-portrait (1504-1506) -
The Ansidei Madonna (The Madonna between St. John Baptist and St. Nicholas of Bari) (c. 1505-1506) - Oil on poplar, 274 x 152 cm, National Gallery, London
Young Man with an Apple (1505) - Oil on wood, 47 x 35 cm, Uffizi, Florence
Christ Blessing (1505) - Oil on wood, 30 x 25 cm, Pinacoteca Civica Tosio Martinengo, Brescia, Italy
Madonna Terranova (1504-1505) - Oil on wood, 87 cm, Staatliche Museen zu Berlin
The Madonna of the Goldfinch (c. 1505) - Uffizi, Florence
Madonna del Prato (The Madonna of the Meadow) (c. 1505) − Oil on wood, 113 x 88 cm, Kunsthistorisches Museum, Vienna
St. George and the Dragon (1505-1506) - Oil on wood, 28.5 x 21.5 cm, National Gallery of Art, Washington
Portrait of Agnolo Doni (1505-1507) - Oil on wood, 63 x 45 cm, Palazzo Pitti, Florence
Portrait of Maddalena Doni (1505-1507) − Oil on wood, 63 x 45 cm, Palazzo Pitti, Florence
Madonna of the Grand Duke (c. 1506) - Oil on wood, 84 x 55 cm, Palazzo Pitti, Florence
Madonna of the Pinks (1506)
Madonna with Beardless St. Joseph (1506) - Tempera on canvas transferred from wood, 74 x 57 cm, The Hermitage, St. Petersburg
Canigiani Holy Family (1507) - Oil on wood, 132 x98 cm, Alte Pinakothek, Munich
La Belle Jardinie´re (1507) - Louvre, Paris
The Deposition of Christ (The Entombment) (1507-1508) - Oil on wood, 184 x 176 cm, Galleria Borghese, Rome
The Three Theological Virtues (tryptic) (1507) - Oil on wood, 16 x 44 cm (each), Pinacoteca Vaticana, Vatican, Rome
Portrait of a Young Woman (La Muta) (1507-1508) - Oil on wood, 64 x 48 cm, Galleria Nazionale delle Marche, Urbino
The Tempi Madonna (Madonna with the Child) (1508) - Alte Pinakothek, Munich
The School of Athens (1509/1510)
Madonna of Loreto (Madonna del Velo) (1509-1510) - Oil on wood, 120 x 90 cm, Muse´e Conde´, Chantilly, France
Aldobrandini Madonna (1510) - Oil on wood, 38,7 x 32,7 cm, National Gallery, London
Madonna with the Blue Diadem (1510-1511) - Oil on wood, 68 x 44 cm, Muse´e du Louvre, Paris
Portrait of a Cardinal (1510-1511) - Oil on wood, 79 x 61 cm, Museo del Prado, Madrid
The Alba Madonna (1511) - Oil on canvas, diameter 98 cm, National Gallery of Art, Washington
The Prophet Isaiah (1511-1512) - Fresco, 250 x 155 cm, Sant'Agostino, Rome
Portrait of Pope Julius II (1511-1512) - Oil on wood, 108 x 80,7 cm, National Gallery, London
Portrait of Pope Julius II (1512) - Oil on wood, 108,5 x 80 cm, Uffizi, Florence
The Madonna of Foligno (1511-1512) - Oil on wood, 320 x 194 cm, Pinacoteca Vaticana, Vatican, Rome
The Triumph of Galatea (1511-1513) - Fresco, 295 x 224 cm, Villa Farnesina, Rome
Portrait of Tommaso Inghirami (1512-1514) - Boston, Massachusetts
Sistine Madonna (c. 1513-1516) - Oil on canvas, 265 x 196 cm, Gema¨ldegalerie Alte Meister, Dresden
Madonna della Seggiola (Madonna with the Child and Young St. John) (1513-1514) - Oil on wood, diameter 71 cm, Galleria Palatina (Palazzo Pitti), Florence
Madonna dell'Impannata (1513-1514) - Oil on wood, 158 x 125 cm, Galleria Palatina (Palazzo Pitti), Florence
Madonna della Tenda (1514) - Oil on wood, 65,8 x 51,2 cm, Alte Pinakothek, Munich
The Burning of Borgo (1514) - Fresco, width at base 670 cm, Vatican, Rome
Portrait of Bindo Altoviti (c. 1514) - Oil on tablet, 60 x 44 cm - National Gallery of Art, Washington, D.C.
The Sibyls (1514) - Fresco, width at base 615 cm,Santa Maria della Pace, Rome
The Ecstasy of St. Cecilia (1514-1516) - Oil on wood, 220 x 136 cm, Pinacoteca Nazionale, Bologna
Portrait of Balthasar Castiglione (c. 1515) - Oil on canvas, 82 x 67 cm, Louvre, Paris
Woman with a Veil (La Donna Velata) (1515-1516) - Oil on canvas, 82 x 60,5 cm, Palazzo Pitti, Florence
Portrait of Tommaso Inghirami (1515-1516) - Oil on wood, 91 x 61 cm, Palazzo Pitti, Florence
Palazzo Branconio dell'Aquila in Borgo (c. 1515-1517) - Destroyed
Portrait of Andrea Navagero and Agostino Beazzano (1516) -
Portrait of Cardinal Bibbiena (c. 1516) - Oil on canvas, 85 x 66,3 cm , Palazzo Pitti, Florence
Double Portrait (c. 1516) - Oil on canvas, 77 x 111 cm , Galleria Doria Pamphilj, Rome
Church of Sant'Eligio degli Orefici near Via Giulia (c. 1516)
Transfiguration (1517-c. 1520) - Oil on wood, 405 x 278 cm, Vatican Museum, Rome
Portrait of Pope Leo X with two Cardinals (1517-1518) - Oil on wood, 155 x 118 cm, Palazzo Pitti, Florence
Christ Falling on the Way to Calvary (1516-1517) - Oil on panel transferred to canvas, 318 x 229 cm, Museo del Prado, Madrid
The Holy Family of Francis I (1518) - Louvre, Paris Visitation
Ezechiel’s Vision (1518) − Oil on wood, 40 x 29 cm, Palazzo Pitti, Florence
St. Michael Vanquishing Satan (1518) - Louvre, Paris
Madonna of the Rose (1518) -
Self-portrait with a Friend (1518-1519) - Oil on canvas, 99 x 83 cm, Louvre, Paris
Portrait of a Young Woman (La Fornarina) (1518-1519) - Oil on wood, 85 x 60 cm, Galleria Nazionale d'Arte Antica, Rome
Visitation - Museo del Prado, Madrid
The above explanation comes from 
出典: フリー百科事典"ウィキペディア"
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