'Analysis of “The School of Athens” by Raphael Essay\r'

'Raphael, the youngest of the leash extensive fine artistic creationists who defined the Italian amply Renaissance, was innate(p) in the small hitherto artistically significant Central Italian city of Urbino. It seems that Raphael attained his natural gift of creative thinking from his father who was a poet and a painter. deprive at an primeval age, Raphael was sent to be an apprentice to the distinguished painter Perugino, and by the tender age of twenty- sensation had flourished into an spic-and-span artist with talent surpassing that of his instruct. oer the course of the next four years, Raphael lived and acted in Florence alongside Leonardo DaVinci and Michelangelo. Raphael could not get by the imminent influence of these twain known artists. By 1508, Raphael’s reputation had already been established and at the age of cardinal he was summ iodined by Pope Julius II to decorate the walls of the papal a blow upments in the Vatican Palace, which happened to be just step away from where Michelangelo’s Sistine Ceiling was in progress. This commission allowed for the ground of the introduction-renowned fresco tit conduct, The naturalise of Athens.\r\nThis work is idolise as one of Raphael’s sterling(prenominal) acts and maybe the greatest motion of the mettlesome Renaissance period. This commission would bring Raphael deserve recognition and notoriety and ultimately led to him becoming the leading painter in all of Rome. The prepare of Athens is a picture show of world-renowned stature because of its impeccable harmony, which was trace of Raphael’s work. In order to show the influence of this piece one essential recognize Raphael’s ov termll achievement here: he success richly created a scene of nearly sixty innovations, psychely individual and alive, that yet combines in a design that is harmonious, clear, and befitting the true splendor and dignity of its subject. Harmony is created in par t by the use of contrasting elements. virtually obvious of these elements would be the differing philosophical predilections of the ii principal guinea pigs, Plato and Aristotle.\r\nPlato is shown read/write heading upward suggesting his emphasis on the existence of a spiritual country beyond the physical world. The gesture is a reference to, â€Å"Plato’s interest in the world of ideas, a meta-world that exists beyond our experience of reality” (Crenshaw 126). On the opposite advance, Aristotle gestures his hand downward stressing his tactile sensation that the physical world is the basis of all knowledge and discretion. Plato carries the Timaeus, one of his dialogues that explains his belief in the reality of a world of ideal forms which exists beyond the corporal universe. Aristotle is shown holding his famous Niomachian Ethics that illustrates his belief that knowledge is only gained through semiempirical observation and experience of the material worl d. The two rules argon further differentiated by their adept of movement and their age. Plato appears to be an previous(a) gentle firearm who seems to be paltry with an business of patience and grace while Aristotle is a younger man who seems to be moving forward with a greater sense of urgency and energy.\r\nThe picture is then divided neatly in half, the idealists or â€Å"thinkers who implicated themselves with ideas and abstract concepts” (Crenshaw 126) are on the go forth side with Plato. To the left of Plato in a dark green robe, Socrates can be seen engaging in an argument amongst a circle of his disciples enumerating points on his fingers, â€Å"in a classic visualization of the Socratic argumentation technique” (Crenshaw 126). Socrates was an influential and revolutionary classical philosopher whose work was meant to show how argument, debate, and discussion could protagonist man to understand and resolve tricky issues. Although the notion that th is omen is therefore Socrates has been astray authentic for generations, a bare-ass idea has recently emerged among art historians. These historians speculate that Socrates is rattling the view shown sprawled about on the locomote directly in face up of Plato and Aristotle. any(prenominal) interesting theories support their argument. The fore tumefy-nigh point they exonerate states that, â€Å"compared to about of Raphael’s juts who are rather richly dressed, this man, with his simple, bare-shouldered himation, gives the impression of farthermost more modest tastes.\r\nHe to a fault seems to film come from an earlier era” (Bell 641). These obvious features accurately describe Socrates. separate important point to note would be the placement of this figure. One cannot deny that the figure is in a place of special significance and attention. Our eye is drawn first to the central figures, Plato and Aristotle, and secondly to the figure fictionalisation on the steps in front of them. The new designation of Socrates suggested here, â€Å"places the three most important philosophers in the center of the School of Athens, where they are depicted without any interfere figures between them” (Bell 641). This strategic placement allows for a natural emphasis on the three most influential philosophers of all time. This new identification becomes problematic when one considers the particular that for most of history, this figure on the steps has been identified as Diogenes the Cynic. Diogenes’ philosophy back up men to live a support of simplicity and to reject all forms of luxury.\r\nHe sought to expose the falsity of most conventional standards set by society. trance Diogenes was a philosopher of significant stature he does not measure up to the over arching influence of the famed Socrates. This figure has been widelyly accepted as Diogenes because of his likely demeanor and clothing. The figure is shown in what c lose to refer to as rags, which supports the argument that this character is Diogenes. Another element that supports this man beingness Diogenes is the way the character interacts with the philosophers around him. He appears to be withdrawn from the rest of the group, which was property of Diogenes, who was considered by most to be an individual who lived on the fringes of society. Although this figure could possibly be Diogenes, I conclude that the new identification suggesting that this figure is genuinely Socrates proves more convincing. If the figure on the steps is Socrates, where is Diogenes? Some art historians take aim theorized that Diogenes is the man standing unsocial under the statue of the God Minerva. No other philosopher appears so unkempt and disheveled, almost shunned by his fellow Athenians.\r\nAdding further evidence to this theory, â€Å"it would be appropriate to portray Diogenes as a rattling old man, dressed in only a simple red-brown cloak, which, fit in to Laertius, he wore everywhere” (Bell 643). In my opinion, I would argue that this new identification is indeed more valid than the previously accepted version. The fact that not all of these figures have been correctly identified or so far identified at all, keep art historians interested in the work. Perhaps Raphael on purpose left the identities of these two figures unexplained to release the viewer’s curiosity. In the start out left cozy up Pythagoras is shown â€Å"illustrating his musical theorem” (Crenshaw 126) to a group of his students. Shown leaning on a block in the foreground is the pre-Socratic philosopher Heraclitus, who claimed that understanding is realized through introspection. Heraclitus seems to be missed in thought and appears to be dismissive in interacting with the other figures surrounding him.\r\nThis figure is thought to be a portrait of Michelangelo therefore portraying him as a man of little social capability. Raphael is po ssibly also contrasting himself to Michelangelo suggesting that Michelangelo is a man of quiet introspection while he is a sociable man who is well liked by all. The realists or Aristotelians are on the right side with Aristotle. besides emphasizing their realist ideals the right side of the painting is shown under the statue of Minerva, the goddess of wisdom and the sense of exhibition (Crenshaw 126). Shown in the lower left foreground is Euclid, the Greek mathematician, and his four students absorbed in their mathematical demonstration. Euclid is remembered as the â€Å"Father of Geometry”. He also researched and closely observed optics and stead (Janes 57).\r\nEuclid resembles the influential intriguer Bramante, who was a agonist of Raphael. Zoroaster and Ptolemy are shown facing opposite one another directly above Euclid. Zoroaster, a philosopher of ancient Persia, shown here holding a celestial globe is discussing with Ptolemy, the Greek geographer who believed that the undercoat was the center of the universe, holds a terrestrial globe (Janes 57). Directly above Ptolemy and Zoroaster is a figure standing alone wrapped up in his cloak and his thoughts. This figure is the lawmaker Solon. Tucked into the right corner of the physical report is Raphael’s teacher Perugino. By placing Perugino in the composition, Raphael is showing his deep respect for his mentor and thanking him for sharing his knowledge. The figure next to Sodoma is actually a self-portrait of Raphael himself. By placing himself along with other artists in the scene, â€Å"Raphael asserts that art is, in fact, an knowing enterprise †a form of film and enquiry, not merely a manual(a) activity” (Crenshaw 126).\r\nIt is also no similitude that Raphael places himself on the Aristotelian side, among philosophers who work from observation. The School of Athens is considered to be one of the most important achievements of the soaring Renaissance. This work exem plifies the High Renaissance in the graceful movements and gestures of the figures. each the figures appear to be moving and actively interacting with one another. The figures are also very large in scale and fully idealized in form. The fact that this multitude is completely idealized is also character of the High Renaissance. The philosophers come from a wide range of times and places who could not have possibly met or interacted with one another. The composition displays the gathering under an architectural exemplar that is reminiscent of the Italian Renaissance architect Bramante’s plan for the New St. Peters. During the early 16th century, architecture was inspired by the grandiosity and monumentality of ancient Roman buildings much(prenominal) as the Coliseum in Rome.\r\nThe briny architectural element portrayed in the fresco is executed in the classic Doric style, characterized by simplicity and reductivism of decoration. The architectural framework also creates a sense of symmetry and special depth. all in all of the elements stated above combine to make this work a masterpiece of the High Renaissance. The School of Athens is undoubtedly a work of art that result proceed to be viewed as an outstanding achievement of the High Renaissance, and the most impeccable work produced by the famous Raphael. Art historians will continue to research the work and maybe uncover the philosophers depicted whose identities have yet to be revealed. The legacy of this piéce de résistance lives on.\r\n'