Everything that Raphael’s brush touched became "divine." This also applies to his portraits. Raphael from Urbino became famous for the huge number of Madonnas and women in his paintings. The article will only consider male images of Raphael, written from patrons, friends, just customers. According to contemporaries, Rafael very accurately conveyed the resemblance to the original on his canvases, could “capture” the very essence of the character of the model.
Attributed to Raphael
Since Raphael is one of the most famous artists in the world, all the works of his brush are very highly appreciated. This leads to the fact that many paintings of the masters of the papal circle are attributed to him. In those days, artists often “finished”, copied and remade each other's works. In addition, it must be taken into account that not all of Raphael’s paintings, with many students, were performed by himself from beginning to end, especially in the last five years of his life. Often he just started, slightly corrected and completed the work of his students with a few strokes, which at the same time made them sparkle, as his contemporary Giorgio Vasari wrote.
It is also necessary to take into account that over the course of his short life, the artist repeatedly changed the manner of writing, creatively assimilating the best of what other masters did. Because of this, difficulties arise in determining the authorship of paintings.
From the portrait work of Rafael Santi, no more than 20 works have survived, undoubtedly belonging to his brush. Most of them remain in the galleries of Pitti and Uffizi (Italy).
Raphael, portrait of Baldassare Castiglione
The painting depicting Baldassare from 1514-1515 is one of the most significant works of both the artist himself and all the art of the Renaissance. The portrait depicts Baldassare Castiglione, a diplomat and humanist, a typical representative of a noble Tuscan family, friend and patron of Raphael. It looks amazingly natural on the canvas, even some shyness in the clasped fingers is felt. But the mind and irony burning in the eyes of himself, posing, allow viewers to easily imagine this person laughing and serious at the same time. At the time of writing the portrait, Baldassare was 37 years old. The canvas depicts a man standing confidently on his feet and knowing the value of himself and his life.
The nobleman and warrior, his own in the circle of artists and writers, the papal nuncio in Spain and a man who loves life, personifies the era of humanism and freedom, such is Castiglione. In the facial features there is absolutely no swagger and ambition that distinguished most of the portraits of noble Italians of that era (and representatives of the nobility of other times). It is not surprising that Titian, Matisse and Rembrandt admired and took something for themselves. Then portraits that convey an instant state, the sharpness and multiplicity of emotions, eyes from which you can’t take your eyes off, will be masterfully painted by Franz Hals.
Patrons of Raphael
In his life, Rafael Santi painted portraits of his patrons. The ability to like was inherent not only to the works of the great artist, but also to himself, in contrast to the gloomy and stern Michelangelo. History does not mention either Raphael’s enemies or his quarrels with friends, patrons, or shopkeepers. All the paintings painted by the artist were liked by both the models and the audience. Therefore, the master had a lot of orders. But the main customers of Raphael Santi should be considered, of course, the Roman Popes and their entourage. The cost of the work was great, so the artist very soon became rich.
Pontiffs in the work of Raphael
Rafael begins to paint portraits of popes with Julius II in 1511, already being a fairly mature and recognized artist. The canvas with the image of the pontiff is stored in the National Gallery of London. Raphael was recommended to the pope by the architect Bramante, a fellow countryman of the artist. The charm and performance of the young master attracted a pontiff, an imperious and ambitious person. He entrusted Raphael to paint the halls of the Vatican, and then ordered to clean off the frescoes of the old masters, preparing the walls and ceilings for the work of Raphael, which was done.
In addition to the portrait of Pope Julius 2, Raphael is known for depicting Leo X with cardinals dating from 1518-1519, stored in the Uffica Florentine gallery.
Images of Roman pontiffs require special attention. Let's consider some of them.
Julius II Raphael
This is one of the most memorable paintings by the great artist. The portrait of Pope Julius II depicts a very old man sitting in an armchair with many attributes of his power. He thought deeply, his thoughts are not here, but they are calm. He is dressed ceremoniously: the red mantle and the white crib beautifully set off each other, on the head the symbol of papal power is the tiara, on the hands are rings. Power, adherence to principles and unbending power - these are the characteristics of this person. And also love for expensive and beautiful things. The pontiff's face is harsh and a little dry. D. Vazari wrote about the liveliness and naturalness of the portrait that when he saw him, people trembled as if before a living person.
Leo X with Cardinals
This portrait, if replacing clothes, could well be an image of the head of some mafia with assistants. It is very difficult to get rid of the feeling of a difficult relationship and the presence of a large number of common dirty deeds in this trinity. Neither the open book, nor the clever eyes and beautiful hands of the pope, nor the expensive fabrics, nor the gold, nor the red robes of the cardinal brothers can save. Red and black tones of the picture emphasize and complement the impression.
Portrait of Agnolo Doni at the Pitti Gallery, Florence
This work was commissioned by Raphael to a steam room (along with the image of his wife, Maddalena Doni) and was completed in 1506. Admired by the work of Rafael Vasari, speaking of the painting, he talks more about the history of its creation than about the work itself, considering it to be a “passage” in the work of the master.
The portrait depicts a young, richly dressed man, with a tense, guarded and at the same time proud look in which one can guess both guile and strange defenselessness at the same time. He clearly wants to get up and leave, judging by the look, and the posture speaks of complete relaxation and poise. This duality was also in the life of Agnolo Doni: being a major dealer in wool, he spent a lot on the acquisition of art. The order of a double portrait from the famous Raphael obviously cost him dearly and was made only for his wife.
In the painting, Agnolo is depicted in a fashionable, well-stitched rich suit (linen made of obviously expensive and thin fabric) and a soft hat in tone, rude hands are emphasized with rings.
Cardinal, stored at the Prado Museum, Madrid
Painted on a tree in 1510-1511 by Raphael "Portrait of a Cardinal" was commissioned by the artist and liked by the customer. A bright orange-scarlet mantle with a number of buttons and the same formal cap help to shade expressive black eyes, a light blush and delicate skin of the model. Calmness and self-confidence, authority and at the same time the ability to flatter in a pose and compressed lips complete the characterization. Still young, but will go far - this is a conclusion that suggests itself.
Many canvases depicting young people made or attributed to Raphael vary greatly in color and impression.
Consider two works by Raphael: "Portrait of a young man" and "Portrait of a young man with an apple."
On a canvas with an apple dating from 1505, a young man is depicted (presumably Francesca Maria della Rovere, 15 years old). A thoroughbred, graceful face, half-closed eyes, thin lips are striking. A beautiful red suit, lavishly trimmed with fur, a manner of holding on - all reports that their owner is rich and noble. Rigidity and inexorableness are seen from the picture, it is unlikely that this person’s smile will be pleasant.
Raphael’s other work - the portrait of a young man executed on a tree, presumably by Pietro Bembo, leaves a completely different impression. The master filled the image of his friend with peace, light and love, as he did on the numerous fresco and paintings of the Madonnas. The young man in the portrait of Raphael, with all the grace and gentleness, looks clearly a man: strong, kind and purposeful. A powerful neck and shoulders give the figure of a warrior, protector.
This young man will subsequently reach the heights, will become Cardinal Pietro Bembo and the famous writer and poet and author of the Azulin Talks. He will be portrayed by Titian in a red cardinal mantle at the age of 70.
The power and glory of Raphael as a portrait painter
For more than one hundred years of work, masters will be interested in people from all over the world, many more people will see hidden characters in Raphael’s canvases, the most diverse features of their acquaintances, friends and foes. Many artists will learn the art of portraiture from Raphael. After all, the master possessed the power that, with all the dignity of the dignity, was able to win over such powerful people as Julius II and Leo X to his side, he managed to achieve with their help the greatest honor both for himself and for art.