A Study on Raphael: One of the Three Masters of the Renaissance

Research Article
Open access

A Study on Raphael: One of the Three Masters of the Renaissance

Chunuo Ji 1*
  • 1 Rosedale Global High School, Beijing, 100000, China    
  • *corresponding author Jichunuo@STUDENT.KSUA.EDU.KG
CHR Vol.3
ISSN (Print): 2753-7072
ISSN (Online): 2753-7064
ISBN (Print): 978-1-915371-29-4
ISBN (Online): 978-1-915371-30-0

Abstract

In the 14th century, the Renaissance first emerged in various city-states in Italy, and then expanded to Western European countries, reaching its peak in the 16th century. The influence of the Renaissance has been reflected in art, architecture, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry. Renaissance scholars took a humanist approach to their research and looked for realism and human emotion in art. As one of the three masters of the Renaissance, Raphael represents the pinnacle that Renaissance artists can achieve in the career of ideal beauty. Raphael was an unmistakable, unfettered, eloquent poet, painter, and extremely agile and superhuman. Raphael visualized the artistic ideals of Renaissance Neoplatonism as if they were easy to visualize. He embraced the artistic ideal of Neoplatonism, and with his refined painting skills, he brought the humanism of the Renaissance to the extreme. Although there are not many works left by Raphael, the talent displayed in his works has a far-reaching influence on future generations. This article will analyze Raphael's influence on the artistic creation style of the Renaissance and the artistic creation of later artists from the perspective of humanism and classicism by appreciating Raphael's six works.

Keywords:

Renaissance, Raphael, Classicism, Madonna

Ji,C. (2023). A Study on Raphael: One of the Three Masters of the Renaissance. Communications in Humanities Research,3,904-909.
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References

[1]. Liang Da. (2013). Analysis of Raphael's Image Creation. Art Education Research, (5), 32-32.

[2]. Yi Caibo. (2014). A Probe into Art and Rational Spirit in Raphael's "School of Athens". Short Stories: Original Edition, (03Z), 127-128.

[3]. Kutbay, B. L. (2019). Early Christian Iconography in Raphael’s Disputà. Journal of Literature and Art Studies, 9(2), 227-242.

[4]. Emison, P. (2002). Raphael’s Dresden Cherubs. Zeitschrift Für Kunstgeschichte, 65(2), 242–250.

[5]. Feng Chao. (2013). The Exploration of "Beauty"——The Virgin Mary by Raphael. Journal of Ningxia Normal University, 34(4), 113-114.

[6]. Lazzeri, D., Castello, M. F., Grassetti, L., Dashti, T., Zhang, Y. X., & Persichetti, P. (2015). Foot deformities in Renaissance paintings. A mystery of symbolism, artistic licence, illusion and true representation in five renowned Renaissance painters. Journal of the Royal College of Physicians of Edinburgh, 45(4), 289-297.

[7]. Borsook, E. (1985). Technical Innovation and the Development of Raphael's Style in Rome. Canadian Art Review, 12, 127-36.

[8]. Zhang Di, & He Yi. (2005). On the characteristics of the Madonna of Raphael (Doctoral dissertation).

[9]. Wang Zixuan. (2016). A Study of the Harmonious Picture in Raphael's "The Virgin of the Meadow". Drama House, (20), 155-155.

[10]. Yuan Fengrui. (2020). A Brief Discussion on Raphael's Mid-Stage Artistic Style——Taking Three Virgin Statues as Examples. Art Sea.

[11]. Shu Na. (2007). On Raphael's artistic achievements. Journal of Shanxi Datong University (Natural Science Edition), 23(3), 83-84.

Cite this article

Ji,C. (2023). A Study on Raphael: One of the Three Masters of the Renaissance. Communications in Humanities Research,3,904-909.

Data availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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About volume

Volume title: Proceedings of the International Conference on Interdisciplinary Humanities and Communication Studies (ICIHCS 2022), Part 1

ISBN：978-1-915371-29-4(Print) / 978-1-915371-30-0(Online)
Editor：Faraz Ali Bughio, David T. Mitchell
Conference website: https://www.icihcs.org/
Conference date: 18 December 2022
Series: Communications in Humanities Research
Volume number: Vol.3
ISSN：2753-7064(Print) / 2753-7072(Online)

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References

[1]. Liang Da. (2013). Analysis of Raphael's Image Creation. Art Education Research, (5), 32-32.

[2]. Yi Caibo. (2014). A Probe into Art and Rational Spirit in Raphael's "School of Athens". Short Stories: Original Edition, (03Z), 127-128.

[3]. Kutbay, B. L. (2019). Early Christian Iconography in Raphael’s Disputà. Journal of Literature and Art Studies, 9(2), 227-242.

[4]. Emison, P. (2002). Raphael’s Dresden Cherubs. Zeitschrift Für Kunstgeschichte, 65(2), 242–250.

[5]. Feng Chao. (2013). The Exploration of "Beauty"——The Virgin Mary by Raphael. Journal of Ningxia Normal University, 34(4), 113-114.

[6]. Lazzeri, D., Castello, M. F., Grassetti, L., Dashti, T., Zhang, Y. X., & Persichetti, P. (2015). Foot deformities in Renaissance paintings. A mystery of symbolism, artistic licence, illusion and true representation in five renowned Renaissance painters. Journal of the Royal College of Physicians of Edinburgh, 45(4), 289-297.

[7]. Borsook, E. (1985). Technical Innovation and the Development of Raphael's Style in Rome. Canadian Art Review, 12, 127-36.

[8]. Zhang Di, & He Yi. (2005). On the characteristics of the Madonna of Raphael (Doctoral dissertation).

[9]. Wang Zixuan. (2016). A Study of the Harmonious Picture in Raphael's "The Virgin of the Meadow". Drama House, (20), 155-155.

[10]. Yuan Fengrui. (2020). A Brief Discussion on Raphael's Mid-Stage Artistic Style——Taking Three Virgin Statues as Examples. Art Sea.

[11]. Shu Na. (2007). On Raphael's artistic achievements. Journal of Shanxi Datong University (Natural Science Edition), 23(3), 83-84.

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