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Museo del Prado. Transfiguration , , unfinished at his death. Pinacoteca Vaticana. The Holy Family , Louvre. Raphael painted several of his works on wood support Madonna of the Pinks but he also used canvas Sistine Madonna and he was known to employ drying oils such as linseed or walnut oils.

His palette was rich and he used almost all of the then available pigments such as ultramarine , lead-tin-yellow , carmine , vermilion , madder lake , verdigris and ochres.

In several of his paintings Ansidei Madonna he even employed the rare brazilwood lake, metallic powdered gold and even less known metallic powdered bismuth.

Vasari says that Raphael eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right.

This was arguably the largest workshop team assembled under any single old master painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen.

We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to assign to a particular hand.

The most important figures were Giulio Romano , a young pupil from Rome only about twenty-one at Raphael's death , and Gianfrancesco Penni , already a Florentine master.

They were left many of Raphael's drawings and other possessions, and to some extent continued the workshop after Raphael's death.

Penni did not achieve a personal reputation equal to Giulio's, as after Raphael's death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career.

Perino del Vaga , already a master, and Polidoro da Caravaggio , who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right.

Polidoro's partner, Maturino da Firenze , has, like Penni, been overshadowed in subsequent reputation by his partner. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the main frescoes.

Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants—a contrast with the stormy pattern of Michelangelo's relationships with both.

Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life. It has been claimed the Flemish Bernard van Orley worked for Raphael for a time, and Luca Penni , brother of Gianfrancesco and later a member of the First School of Fontainebleau , may have been a member of the team.

Portrait of Elisabetta Gonzaga , c. Portrait of Pope Julius II , c. Portrait of Bindo Altoviti , c. Portrait of Baldassare Castiglione , c.

Raphael was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions.

According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there.

This is how Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done.

When a final composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide.

He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave only an indentation, but no mark.

These can be seen on the wall in The School of Athens , and in the originals of many drawings. In later works painted by the workshop, the drawings are often painfully more attractive than the paintings.

They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying.

He was one of the last artists to use metalpoint literally a sharp pointed piece of silver or another metal extensively, although he also made superb use of the freer medium of red or black chalk.

Study for soldiers in this Resurrection of Christ , ca Red chalk study for the Villa Farnesina Three Graces. Sheet with study for the Alba Madonna and other sketches.

Raphael made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print.

His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian , who had worked much less successfully with Raimondi.

Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving. The most famous original prints to result from the collaboration were Lucretia , the Judgement of Paris and The Massacre of the Innocents of which two virtually identical versions were engraved.

Among prints of the paintings The Parnassus with considerable differences [82] and Galatea were also especially well known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century.

Baviero Carocci , called "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his money, [83] ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.

Drawing for a Sibyl in the Chigi Chapel. The Massacre of the Innocents , engraving by? Marcantonio Raimondi from a design by Raphael.

Judgement of Paris , still influencing Manet , who used the seated group in his most famous work. Galatea, engraving after the fresco in the Villa Farnesina.

From until his death, Raphael lived in the Palazzo Caprini , lying at the corner between piazza Scossacavalli and via Alessandrina in the Borgo , in rather grand style in a palace designed by Bramante.

Vasari claims that he had toyed with the ambition of becoming a cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.

Raphael died on Good Friday April 6, , which was possibly his 37th birthday. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni.

At his request, Raphael was buried in the Pantheon. Raphael's funeral was extremely grand, attended by large crowds. According to a journal by Paris de Grassis , [g] four cardinals dressed in purple carried his body, the hand of which was kissed by the Pope.

Self-portrait, Raphael in the background, from The School of Athens. Possible self-portrait by Raphael. Possible Self-portrait with a friend , c.

Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo.

Mannerism , beginning at the time of his death, and later the Baroque , took art "in a direction totally opposed" to Raphael's qualities; [92] "with Raphael's death, classic art — the High Renaissance — subsided", as Walter Friedländer put it.

Those, like Dolce and Aretino , who held this view were usually the survivors of Renaissance Humanism , unable to follow Michelangelo as he moved on into Mannerism.

Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the Lives expressing similar views.

Raphael's compositions were always admired and studied, and became the cornerstone of the training of the Academies of art.

His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired.

He was seen as the best model for the history painting , regarded as the highest in the hierarchy of genres. Sir Joshua Reynolds in his Discourses praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of the first [i.

He did not possess so many excellences as Raffaelle, but those he had were of the highest kind The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and the skilful accommodation of other men's conceptions to his own purpose.

Nobody excelled him in that judgment, with which he united to his own observations on nature the energy of Michael Angelo, and the beauty and simplicity of the antique.

To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first.

But if, according to Longinus , the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference.

Reynolds was less enthusiastic about Raphael's panel paintings, but the slight sentimentality of these made them enormously popular in the 19th century: "We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the world has ever had In Germany, Raphael had an immense influence on religious art of the Nazarene movement and Düsseldorf school of painting in the 19th century.

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