An Art Tour Within History

Martin CJ Mongiello

The Art Institute of Pittsburgh, PA

An Art Tour Within History

Martin CJ Mongiello - The Art Institute of Pittsburgh, PA




The Mighty Raffaello Sanzio

I selected Raffaello Sanzio despite showing off the famed painting of the, “Birth of Venus”, by Botticelli. A portion of that painting is also on each page.

This is designed to constantly overshadow Rafael’s work, and life, even in my presentation.

It shall remain a continuous reminder to you. The reason for that is to showcase where Rafael fit in with the mighty Florentines,

Leonardo da Vinci and Michelangelo, himself only an Umbrian (Raphael); and the Venetians – Titian, Tintoretto and Veronese.

Links to: http://www.ibiblio.org/wm/paint/tl/it-ren/high-ren.html

Which artist is more famous? Leonardo da Vinci or Michelangelo. Certainly more famous than Rafael!? Many have never heard of him before. Of course, I realize that you have, dear reader, but I refer to some others.

http://www.ibiblio.org/wm/paint/auth/raphael/

http://www.ibiblio.org/wm/paint/tl/it-ren/high-ren.html




The Duchy of Urbino –

where Rafaello is

from.




The paintings - b. April 6, 1483, Urbino, Duchy of Urbino - d. April 6, 1520, Rome, Papal States




While we may term other works paintings, those of Raphael are living things; the flesh palpitates, the breath comes and goes, every organ lives, life pulsates everywhere.

Vasari, Lives of the Artists







This painting depicts lady Maddalena Strozzi.

She was a Florentine who married Agnolo Doni, a merchant who had dealings with the papal court. He was quite wealthy. Kind of makes you wonder where his wealth is today? It would be interesting to see it quadrupled and where it is at in modern times.

Raphael actually did two paintings for them, a his and hers, in 1506. This is an Oil on panel, 63 x 45 cm and held at Galleria Palatina (Palazzo Pitti), Florence, Italy.

His style is wonderful in minimizing the background. He provides full and realistic color as well as accurate shading (side of face). The jewelry and downward, thin lines across the chest - create fascination against the rounded and supple face, shoulders and fingers. Entrancing thin lines…







Madonna and Child (The Small Cowper Madonna) 1504-05Oil on wood, 58 x 43 cm, presently held at the National Gallery of Art, Washington, DC, America.

The lines of the fingers and spacing of one astray - do not go unnoticed on the infants behind, in this painting. The left handed, outstretched thumb, or five babies toes resting on her hand, are amazing and rounded to a plump, natural depiction. Also of note, is the photographic sitting of this. It is as if you are on the photo shoot there, with them, for ELLE magazine. That is how realistic this painting is due to size, comparison to shapes in the background (that beautiful house, one could just retire right there!) and landscape. The darkened skirt almost ruins the painting, leaving a yearning for more color below - and more painting, in general.







The Granduca Madonna, painted in 1504, Oil on wood, 84 x 55 cm, held at the Galleria Palatina (Palazzo Pitti), Florence, Italy.

This painting brings to light or sight, the subject out of the shadows – or out of the dark.

Certainly the dark black line, horizontally across the Madonnas neck is one of the focal points of the entire painting – but so is the pudgy baby. The lines that depict the flabbiness of the infant our magnificent and realistic. The curled toes of the baby offer humanistic detail.







Portrait of Bindo Altoviti, 1512-15,Oil on wood, 60 x 44 cm and held at the National Gallery of Art, Washington.

This painting captures the eye by a tremendous use of color. Not only Is the young man wearing a green cloak but the background of the painting is green. Abnormal? Unusual? Of course.

It is for that reason that this painting does exceptionally well paired up In a gallery with other paintings. The wholeness of the green - gathers attention. The attention to detail in the lines of the hair, it’s curves and slight curl is amazing and gives great pause to any admirer of art.







St George Fighting the Dragon, 1503-05Oil on wood, 29 x 25 cm, Musée du Louvre, Paris, France.

This painting offers a traditional, magnificent scene of battle. The tight lines of the left leg encased in steel armor show realism. The coloring of the painting is a bit drab, overall.

Due to the darkness of the dragon - it offers little attention getting device or mechanism. There is too much darkness and contrast surrounding the dragons death which intentionally pushes the viewer past the vanishing point, and to look at the lady on the right. Thankful, she is in prayer.







St Michael and the Dragon, 1503-05, Oil on wood, 31 x 27 cm, held at the Louvre, Musée du Louvre, Paris, France.

As you look around the scene you can see many things, not the least of which is the main character of Saint Michael. Here he has forced the devil to the ground and is preparing to kill him with a final blow.

The burning city in the background is illuminated by the central message in the entire painting – that being the sign of the cross. For this reason the only object painted pure white in the scene is the shield. The usage of color in this grim and dark battle (intense shading) is actually colorless (white). The fires of the city offer excellent haze, fades and hues usage.




Dussler, L. , Raphael: A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries (1971).

The Web Gallery of Art, 13 Jun. 2010, http://www.wga.hu/frames-e.html?/html/r/raphael/index.html

Ibiblio, 13 Jun. 2010, http://www.ibiblio.org/wm/paint/tl/it-ren/high-ren.html

http://www.wga.hu/frames-e.html?/html/r/raphael/index.html

http://www.ibiblio.org/wm/paint/tl/it-ren/high-ren.html

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An Art Tour Within History