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Art Essay Completed At Eton Summer School

Raphaels Compositional Development

Date : 13/03/2012

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Megan

Uploaded by : Megan
Uploaded on : 13/03/2012
Subject : Art

For many people, the High Renaissance in Rome symbolises a time of challenges and difficulties; during this period, the people in Vatican City became disheartened by the attacks from France that faced Pope Julius II. Although the peace in Rome was depleting, the growth and mathematical beauty of the Renaissance art movement was at its peak. Thus, Pope Julius II solicited a thriving artist to paint the walls of the Stanza in his last bid to regain power and trust in Italy - Raphael. Along with Michelangelo, Raphael was responsible for the advancement of the High Renaissance into the beginnings of a new approach to the style and vision of the art world, also re-establishing the high supremacy of the Papacy of Julius II. This vital transformation can be reflected through the compositional development of Raphael as an artist, when examining his frescos in the Vatican. Examinations of Raphael's earliest fresco in the Vatican, Disputa, will unfold the primary components of his compositional style. It can be observed that Raphael takes a hugely scientific approach to this painting, using strong geometrical shapes to create the harmonious, ordered 'desegno' imposed by the Renaissance. Articulation is generated through the combination of 'perfect' circular and rectangular shapes (inspired by Leonardo da Vinci) and linear arrangement of figures to create a visual hierarchy in the painting. The lower level of the image employs a sense of disarray and lively interchange between the figures, representing little connection to God. The eye of the viewer is then taken up, by the gesture of a hand pointing upwards, to Jesus and his disciples seated on a cloud in a much tidier manner. The higher placement and order of these figures reflect a greater connection to God, who is portrayed above them in front of beaming rays in a circular shape. The central, circular shape of the rays has been used as an aid to unite the different stage; this is cleverly executed through placing a line of golden circles diminishing in size in the centre of the fresco, balanced out by the host at the bottom, stabilizing the painting. Raphael has managed to design the fresco in such a mathematical way that each part is graceful, yet it also works beautifully as a whole. However, the articulation is very clear and each part remains glaringly separate, highlighting the fact that Raphael had not quite developed the ability to link the narrative in a smooth way. Compositional progress has clearly flourished in 'The Parnassus' as Raphael has managed to use composition to symbolise the narrative and content of the picture for the first time. The soft curved positioning of the figures in the painting mimics the flow of poetry of music, showing the subtle change in pace. The curved line of the figures also aid in softening the sharp edges of the window on the wall, a delicate problem which was faced skilfully. He also made a witty decision to place Apollo directly in the centre above the window, as outside the window there lays a statue of Apollo, creating further impact on the narrative of the painting. The laurel trees in the fresco have been cut off by the curvature of the arch, generating the idea that the painting continues beyond the frame, leaving it open to interpretation for the viewer; this is a concept which has not been widely explored by the Renaissance artists before, as many were obsessed with mathematical perfection and keeping the content of the painting inside a confined geometrical space. The scene is peaceful; however Raphael has not quite grasped the concept that he can use light more impressively as part of the composition to give the image a more dynamic impact. The boundaries of composition are pushed further in the 'Repulse of Attila' as he introduces the notion that important figures do not have to be highlighted at the centre of the foreground, they can also be portrayed just as significantly in the background of the painting. In this fresco, Raphael has used movement and deep contrasts in light and shade to attract the viewers' eye to the figure of Attila, who is not presented in the foreground. The countervailing forces between the sudden gush of the soldiers on the right is counteracted and bounced back through the conflicting gesture posed by Attila. The composition has suddenly become asymmetrical, moving away from the controlled, structured Renaissance compositions. The movement of the dark, crowded right hand side of the picture is subtly balanced through the stillness of the figures on the left, along with the contrasting bright light used. The slightly unbalanced composition adds to the aggression and uncertainty of the scene; the image is still structured but broadens the compositional guidelines of Renaissance art movement, showing a clear progression in artistic ability of 'desegno'. The obsession with 'desegno' and showing artistic talent starts to overpower Raphael, so much that the composition becomes distracting from the narrative in his paintings. The use of classical architecture in the 'Fire in the Borgo' seems pointless and contrived; Raphael is so confident in his compositional abilities that he has detracted from the image by flaunting his talents. It has become clear that he has been influenced by Michelangelo's fixation with the body; he has made the figures in the painting very refined and manipulated their gestures into abnormal postures as a display of his artistic skills. The deviant application of composition in this piece has started to move away from the realistic, perfect approach of the Renaissance and foreshadows the beginnings of the new art movement - mannerisms. The arrangement of figures in the painting is no longer linear or controlled, but chaotic and undisciplined; this display of disorder reflects a struggle in the narrative. Raphael has broken out of the compositional mould to echo deeper psychological sensations and complications to the viewer. The artistic journey Raphael has taken reveals triumph over architectural difficulties, elegant control of articulation and an innovation out of the Renaissance art movement. By studying the development of Raphael's design techniques in the Vatican, it can be seen that Raphael managed to confidently guide Italy away from the past and into the future. His ideas inspire originality within the art world and aid the restoration of trust and power in the Papacy; he defined artists as intellects and gave them their own merit, thus transforming the way in which artists were viewed for eternity.

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