Raphael Sanzio Raffaello Sanzio, Raffaello Sanzi, and Raffaello Santi Place of Birth - Urbino, Italy 1483 – 1520 Died of a fever aged 37 years old Served as an apprentice to Andrea del Verrocchio Supported by The Medici Family and Pope Leo X Raphael, Self-Portrait, 1506 Oil on wood, Uffizi Galleria.

Raphael, Canagiani Madonna, 1507. HIGH ITALIAN RENAISSANCE Raphael Sanzio Raphael, Canagiani Madonna, 1507. HIGH ITALIAN RENAISSANCE

Madonna dell Granduca c. 1505 Raphael Sanzio Raphael Madonna dell Granduca c. 1505 Oil on wood. HIGH ITALIAN RENAISSANCE

Raphael Sanzio Sistine Madonna, c.1513-1514. Cowper Madonna, c1505.

Raphael Sanzio

Raphael Sanzio

Raphael Sanzio Raphael’s Madonnas Madonna della Sedia Alba Madonna

Raphael Sanzio Raphael, Portrait of Baldassare Castiglione, c. 1514-15 Oil on canvas. HIGH ITALIAN RENAISSANCE

Raphael Marriage of the Virgin, Florence, Italy, 1504 Raphael Sanzio Raphael Marriage of the Virgin, Florence, Italy, 1504 According to the Golden Legend (a 13th century collection of stories about saints’ lives), Joseph competed against other suitors for Mary’s hand in marriage. The high priest was to give the Virgin to whichever suitor presented to him a rod that had miraculously bloomed. Raphael depicted Joseph with his flowering rod and about to place Mary’s wedding ring on her extended hand. Other virgins congregate at the left, and the unsuccessful suitors stand on the right.

Raphael Sanzio The ‘Raphael Stanze’ Pope Julius II commissioned 25 year old Raphael Sanzio in 1508 to paint the frescos in his four room apartment on the top floor. Three of the rooms were of modest dimensions, while the fourth one was considerably larger; with the completion of the work, the rooms became known as "The Raphael Stanze" .

Raphael, The School of Athens, 1511, Fresco, Stanza della Segnatura. Raphael Sanzio Raphael, The School of Athens, 1511, Fresco, Stanza della Segnatura. Da Vinci Raphael Michelangelo

Raphael Sanzio Legend has it that the woman who is facing Raphael (with her back to us) was a love interest of Raphael’s who didn’t feel the same way…

PLATO: looks to the heavens [or the IDEAL realm]. Raphael Sanzio PLATO: looks to the heavens [or the IDEAL realm]. Da Vinci was the model. ARISTOTLE: looks to this earth [the here and now].

Raphael Sanzio The thoughtful Michelangelo sits alone… probably the way he liked it.

Veronese, Feast in the House of Levi,1573 Oil on canvas, Gallerie dell'Accademia, Venice

TITIAN Titian had a creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with color and movement Titian, Penitent Mary Magdalen 1560s, Oil on canvas.

Titian, The Pesaro Altarpiece, 1522-26, canvas, San Maria Gloriosa dei Frari, Venice

Titian. Venus of Urbino. 1538. Oil on canvas Titian. Venus of Urbino. 1538. Oil on canvas. Galleria degli Uffizi, Florence, Italy. HIGH ITALIAN RENAISSANCE

Portrait of Isabella d'Este Titian, Portrait of Isabella d'Este, 1534-1536 Although she is shown as a young woman, Isabella was 62 by the time the work was painted. Titian had originally painted a more aged Isabella, but she was so displeased with the picture that she made him repaint it in an idealized form, so that she looked forty years younger. Her face and hands were given the most attention, while her garment fades into the background.

Titian. Bacchus and Ariadne. 1520-1522. Oil on canvas Titian. Bacchus and Ariadne. 1520-1522. Oil on canvas. The National Gallery. HIGH ITALIAN RENAISSANCE

Giorgione, The Pastoral Concert, 1509. HIGH ITALIAN RENAISSANCE Also attributed to Titian Combines the Greek idealism with a pastoral (or “shepherd”) setting Not intended to convey a plot, but rather an idyllic, romantic setting

Pope Julius II Laid the foundation for the new St. Peter’s in Rome (designed originally by Bramante) Commissioned Michelangelo to create a painted ceiling for the Sistine Chapel Commisioned Raphael to paint the four hemicycles in the Stanza della Signatura (the Pope’s apartment)

HIGH ITALIAN RENAISSANCE Tomb of Pope Julius II

HIGH ITALIAN RENAISSANCE Michelangelo, Moses 1513-1515 Commissioned by Pope Julius II as part of his immense tomb, (which was never completed as planned… Julius used more funds to the building of St. Peter’s) Horns on head were traditionally meant to be divine, but scripture may have meant that Moses was “radiant”, not “horned”. Inspired by Greek Hellenistic sculpture Laocoon & Sons