Philosophy
For this formal analysis I am continuing my focus on one of a four-panel series by Raphael Sanzio called Philosophy. This five-hundred-year-old fresco reside on a wall in a room known as the Stanza della Segnatura in the Apostolic Palace in Vatican City. The frescoes were commissioned to Raphael in 1509 by Pope Julius II and were completed in 1511. Raphael’s Philosophy panel is a depiction of the greatest scholars of the world, gathering together to share and exchange knowledge and learn from one another. It is a monumental meeting of different intellectual minds from different times in antiquity passing on information. In this piece, Raphael uses a classical roman setting and Intellectual congregation as a representation of …show more content…
Under Roman inspired arches, Raphael recreates an idealized classical basilica interior. He forms a realistic linear perspective by using the illusion of depth, overlapping figures in the foreground, center and background of the image. He uses color and value changes in the sky between the arches to make them appear lighter as they recede back in to space. By applying a warm Renaissance color palette, Raphael highlights certain aspects and characteristics of the piece, and creates shape and depth by adding chiaroscuro to the figures. The colors create a steady and serious tone in the image and most of the figures are evenly illuminated as natural light flows in to all areas from different windows. Warmer light falls mostly on the people in the back and shadows cast slightly on the figures towards the front.
There is a powerful balance and clear use of symmetry through the center of the painting. All the orthogonal lines point to two main men in the center of the piece, Aristotle and Plato. (Kleiner 2016, 2013, 2009) Raphael sets-up a good composition by showing equal space between these two influential figures and creates texture and repetition in the ceiling and floor patterns with the use of lines that bring a viewer to a single focal point back toward the …show more content…
Euclid entices his students with geometric theorems on the right. Raphael also grouped religious prophets like Zoroaster, and astronomers like Ptolemy together in the right corner. In addition to the great minds found mingling in this piece, Raphael includes a self-portrait of himself peering directly at the viewer. (Kleiner 2016, 2013, 2009)
Raphael designed an intimate space for the setting. The mural is life size and each figure are true to form. Judging by the tiny door in the corner, to physically be in that room, one could not help but to imagine to be an important component of its design, as the element of viewer, receiver of information. This piece is the epitome of Greek thought. Raphael visually achieved the Neoplatonic ideal of anthropological magnificence. All the significant figures and forms in the image piece together the impression and understanding of a desire to communicate information and exchange
For this formal analysis I am continuing my focus on one of a four-panel series by Raphael Sanzio called Philosophy. This five-hundred-year-old fresco reside on a wall in a room known as the Stanza della Segnatura in the Apostolic Palace in Vatican City. The frescoes were commissioned to Raphael in 1509 by Pope Julius II and were completed in 1511. Raphael’s Philosophy panel is a depiction of the greatest scholars of the world, gathering together to share and exchange knowledge and learn from one another. It is a monumental meeting of different intellectual minds from different times in antiquity passing on information. In this piece, Raphael uses a classical roman setting and Intellectual congregation as a representation of …show more content…
Under Roman inspired arches, Raphael recreates an idealized classical basilica interior. He forms a realistic linear perspective by using the illusion of depth, overlapping figures in the foreground, center and background of the image. He uses color and value changes in the sky between the arches to make them appear lighter as they recede back in to space. By applying a warm Renaissance color palette, Raphael highlights certain aspects and characteristics of the piece, and creates shape and depth by adding chiaroscuro to the figures. The colors create a steady and serious tone in the image and most of the figures are evenly illuminated as natural light flows in to all areas from different windows. Warmer light falls mostly on the people in the back and shadows cast slightly on the figures towards the front.
There is a powerful balance and clear use of symmetry through the center of the painting. All the orthogonal lines point to two main men in the center of the piece, Aristotle and Plato. (Kleiner 2016, 2013, 2009) Raphael sets-up a good composition by showing equal space between these two influential figures and creates texture and repetition in the ceiling and floor patterns with the use of lines that bring a viewer to a single focal point back toward the …show more content…
Euclid entices his students with geometric theorems on the right. Raphael also grouped religious prophets like Zoroaster, and astronomers like Ptolemy together in the right corner. In addition to the great minds found mingling in this piece, Raphael includes a self-portrait of himself peering directly at the viewer. (Kleiner 2016, 2013, 2009)
Raphael designed an intimate space for the setting. The mural is life size and each figure are true to form. Judging by the tiny door in the corner, to physically be in that room, one could not help but to imagine to be an important component of its design, as the element of viewer, receiver of information. This piece is the epitome of Greek thought. Raphael visually achieved the Neoplatonic ideal of anthropological magnificence. All the significant figures and forms in the image piece together the impression and understanding of a desire to communicate information and exchange