Vintage Art Masterpieces,Vintage Prints for Sale The Fire in the Borgo by RAPHAEL {Umbrian School}

The Fire in the Borgo by RAPHAEL {Umbrian School}


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’S great fame is not the consequence of his supremacy in any single
department of art. His career falls, as if by exact calculation, into three di­
visions: his early training under

Perugino whose mannerisms he absorbed
and made his own; his Florentine period, from 1504 to 1508, when he molded
himself in the new style by yielding to the influence of Michelangelo, Leonardo
da Vinci, and Masaccio; his Roman period, from 1508 to his death, in which
he developed his capacities as a mural decorator.

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He has been described as the great harvester, the man who moved from
influence to influence, absorbing and assembling, and transforming all that
he had extracted from others into his own style, by the ineffable grace and
loftiness of his personality.

He was one of the most gifted painters the world
has seen, and it is no wonder he was called divine. He was never disturbing;
he seemed to rise with godlike ease above all others, to achieve a symmetrical
completion in his life that made

Michelangelo boorish and uncivilized. He
could do no wrong; he was gentle to the point of effeminacy, and yet he could
exercise undisputed authority over fifty assistants.

was called to Rome to decorate certain rooms of the Vatican with
frescoes. He covered wall after wall with enormous historical, religious, and
allegorical compositions which were accepted for centuries as the academic
standard by which figures should be harmoniously disposed in space. In one
of the rooms he designed and executed, with the help of assistants,

, to commemorate a miraculous event in the career of Leo IV, who
appeared at a window in the Vatican, made the sign of the cross, and so put out
the fire. In this fresco, he was under the domination of Michelangelo, who had
astonished Christendom by his decorations ill the Sistine Chapel.

not by nature a dramatic artist, but so great was his versatility that he produced
splendid muscular figures in action, utilizing the powerful forms of Michel­
angelo with a grace of gesture and a flow of drapery that were unmistakably
his own. In addition to all these labors, and despite his delicate health, he was
the inspector of monuments and antiquities in Rome, Bramante’s successor as
architect of St. Peter’s, and, in his spare time, the painter of many easel


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