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Journal articles on the topic 'Raphael'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Zhang, Weixiao. "The Renaissance Influence on Raphael's Artistic Creation." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 613–18. http://dx.doi.org/10.54097/h9whay74.

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Raphael, the most important artist in the heyday of the Renaissance, influenced the artistic development of Europe during the Renaissance and more areas in the future with his unique painting style and deep pursuit of ideal beauty. The formation of Raphael's artistic style comes from the background of his Renaissance, his life experience, and the influence of artists of the same period. This paper studies the formation of Raphael's painting style: the background of the Renaissance provided a unique condition for Raphael's painting creation, which catalyzed and formed his unique personal style;

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2

Ji, Chunuo. "A Study on Raphael: One of the Three Masters of the Renaissance." Communications in Humanities Research 3, no. 1 (2023): 1141–46. http://dx.doi.org/10.54254/2753-7064/3/2022966.

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In the 14th century, the Renaissance first emerged in various city-states in Italy, and then expanded to Western European countries, reaching its peak in the 16th century. The influence of the Renaissance has been reflected in art, architecture, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry. Renaissance scholars took a humanist approach to their research and looked for realism and human emotion in art. As one of the three masters of the Renaissance, Raphael represents the pinnacle that Renaissance artists can achieve in the career of ideal

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3

de Campos, Deivis, Danielle Coutinho Rodrigues, and Luciano Buso. "A conjunctival papilloma in Raffaello Sanzio da Urbino (1483–1520)?" European Journal of Ophthalmology 32, no. 2 (2021): NP146—NP147. http://dx.doi.org/10.1177/11206721211055969.

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The specialized literature has described that Raffaello Sanzio da Urbino (1483–1520), universally known as Raphael, is among the greatest artists of the Renaissance. Additionally, it is also described that there are still many controversies regarding Raphael’s health when he died in 1520. In this context, due to the 500th anniversary of his death, it would be timely to bring up some pieces of information that haven't been presented in the literature so far, regarding the health of this famous artist Therefore, we have decided to present in this description a self-portrait of Raphael from 1519,

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4

Frolova, L. V. "Сult and Critique of Raphael in the Late Nazarene Movement". Art & Culture Studies, № 4 (грудень 2021): 184–97. http://dx.doi.org/10.51678/2226-0072-2021-4-184-197.

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The cult of Raphael is an important part of German romantic culture of the beginning of the 19th century. There were the Nazarenes who developed the cult of the Renaissance genius, and Raphael’s modern reputation is based on these romantic tradition. The article reveals special features of late romantic cult of Raphael, which caused the critique of the Italian master in the second half of the 19th — 20th centuries. The article discusses the art works of the Nazarenes (Franz Pforr, Peter von Cornelius, Franz and Johann Christian Riepenhausen). Special attention was paid to the art works and tex

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5

Moran, Andrew. "Milton’s Dantean Raphael." Ben Jonson Journal 29, no. 1 (2022): 99–132. http://dx.doi.org/10.3366/bjj.2022.0330.

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While Raphael’s guidance of Adam has provoked much discussion, his origin in the Apocrypha, which Milton in Christian Doctrine derided as “fabulous, low, trifling, and quite foreign to real sagacity and religion,” deserves more attention. This article argues that his origin in Tobit, considered canonical by Catholics, is only the beginning of his Catholic identity. Through the “divine” Raphael, who encourages in Adam an exaggerated confidence in his own nature, Milton critiques another charming, philosophical, Catholic storyteller whose teachings are grounded in the analogia entis, the author

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6

Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.

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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works

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7

NAWROCKI, Łukasz. "RECONSTRUCTION OF RAPHAEL SANTI’S PAINTING WORKSHOP FROM THE UMBRIAN-FLORENTINE PERIOD BASED ON THE AUTHORIAL REVERSE TECHNOLOGY." International Journal of Conservation Science 15, no. 4 (2024): 1623–32. https://doi.org/10.36868/ijcs.2024.04.02.

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In the first stage of the research all the elements of painting technique and technology were developed, and painting materials as close as possible to those used by Raphael were prepared in order to obtain a research material compatible with the original material. Then, based on the technique and technology developed, an experimental image of the Madonna and Child was made as a test painting intended to simulate the complete structure of Raphael's original image. In the last stage, physicochemical tests of the experimental image were performed. Observation of the image in IR radiation, X-ray

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8

Karlin, Louis W., and Jordan D. Teti. "A trace of equity in Utopia? On Raphael's reformulation of classical equity." Moreana 54 (Number 207), no. 1 (2017): 19–35. http://dx.doi.org/10.3366/more.2017.0004.

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“Equity,” a fertile concept for understanding justice in More's time, has its origins in Greek and Roman philosophy. As the putative emissary of Greek (and Ciceronian) philosophy in More's Utopia, it is thus fitting that Raphael Hythloday expressly acknowledges classical sources in his references to equity, such as in his allusion to the “leaden rule” of Aristotle and his paraphrase of Cicero's famous epigram, “summum ius, summa iniuria.” In substance, however, Raphael's understanding of equity differs from that of Plato, Aristotle, and Cicero. For example, while classical thinkers sought flex

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9

Furtney, Diane. "Raphael." Critical Quarterly 44, no. 4 (2002): 130–32. http://dx.doi.org/10.1111/1467-8705.00460.

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10

David, Arlette. "Obituary: Raphael Ventura." Journal of the Hellenic Institute of Egyptology 3 (December 31, 2020): 197–98. https://doi.org/10.5281/zenodo.4304851.

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11

BEZIRGANYAN, Vahan. "Raphael‟s “The School of Athens”: A Hypothesis on the Identity and Symbolic Meaning of the Figure in White Cloak: The True Muse of Raphael." WISDOM 26, no. 2 (2023): 144–52. http://dx.doi.org/10.24234/wisdom.v26i2.1006.

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Raphael’s fresco “The School of Athens” is rich with figures of prominent philosophers who are identified by their certain characteristic details. The identity of a figure in Raphael’s “The School of Athens” Plato group traditionally attributed to Francesco Rovere, is currently being questioned. Present article brings forward a new hypothesis on this matter: the aforementioned figure is seen as a collective figure that symbolizes the unity of a man and a woman, in this case, Raphael and his muse. Besides, this figure also encodes the year when the fresco was painted. As a key to the code, the

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12

Foley, Adam T. "Raphael's Parnassus and Renaissance Afterlives of Homer." Renaissance Quarterly 73, no. 1 (2020): 1–32. http://dx.doi.org/10.1017/rqx.2019.491.

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The figure of Homer in Raphael's “Parnassus” is singular for the combination of blindness, divine inspiration, improvisational song, and an amanuensis to immortalize the performance. This article examines humanist biographies of Homer to identify the pre-text of Raphael's Homer and to determine if it reflects the political influence of Julius II. Though no one source can be asked to bear such responsibility, the article gestures to the doctrine of divine madness in Laurentian Florence, in which vatic authority derives from Apollo. Raphael may have therefore conceived of Homer as Apollo's pries

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13

Marcus, S. "Raphael Marcus." BMJ 324, no. 7353 (2002): 1587. http://dx.doi.org/10.1136/bmj.324.7353.1587.

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14

Brooks, Nicholas. "Raphael Balcon." BMJ 336, no. 7652 (2008): 1077.1–1077. http://dx.doi.org/10.1136/bmj.39567.695567.be.

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15

Rogers, John J. W. "Raphael Unrug." Gondwana Research 3, no. 4 (2000): 584–85. http://dx.doi.org/10.1016/s1342-937x(05)70777-2.

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16

Mercier, Raphael. "Raphael Mercier." Current Biology 19, no. 24 (2009): R1100—R1102. http://dx.doi.org/10.1016/j.cub.2009.10.003.

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17

McCutcheon, Elizabeth. "Thomas More, Raphael Hythlodaeus, and the Angel Raphael." Moreana 52 (Number 201-, no. 3-4 (2015): 17–36. http://dx.doi.org/10.3366/more.2015.52.3-4.5.

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18

Ekserdjian, David. "Michelangelo and Raphael." L'IDEA 1, no. 2 (2024): 7–15. https://doi.org/10.69114/lidea/2024.179-231.

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It is universally recognised that - on a personal level - Michelangelo and his entourage were deeply suspicious of Raphael, and this circumstance seems to have led to the widespread assumption that he must have been completely uninterested in his young rival’s artistic achievements. This contribution seeks to demonstrate the contrary, principally through three specific instances where Michelangelo’s drawings quote or adapt inventions by Raphael, all of which are in the form of prints after his designs executed by his favourite printmaker, Marcantonio Raimondi. These derivations have – so to sp

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19

Ekserdjian, David. "Michelangelo and Raphael." L'IDEA 1, no. 2 - Disegni (2024): 7–15. https://doi.org/10.69114/LIDEA/2024.179-231.

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It is universally recognised that - on a personal level - Michelangelo and his entourage were deeply suspicious of Raphael, and this circumstance seems to have led to the widespread assumption that he must have been completely uninterested in his young rival’s artistic achievements. This contribution seeks to demonstrate the contrary, principally through three specific instances where Michelangelo’s drawings quote or adapt inventions by Raphael, all of which are in the form of prints after his designs executed by his favourite printmaker, Marcantonio Raimondi. These derivations hav

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20

Opanasets, Nicholas. "More Platonism." Review of Politics 51, no. 3 (1989): 412–34. http://dx.doi.org/10.1017/s0034670500049755.

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Raphael Hythlodaeus, the philosopher of Thomas More's Utopia, is generally considered to be an uncompromising and inflexible political idealist. However, Raphael may be more subde and complex than he is usually thought to be. Raphael may be capable of practical, prudent political advice, and may even desire to give such advice in some way, as long as his active participation in politics is not required. If this is true, then his real fault or blindness could be his lack of awareness of how vulnerable he is to the accusation that he is avoiding his public duty and not political idealism.

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21

Nicholls, Mark. "Dr Raphael Twerenbold." European Heart Journal 42, no. 14 (2021): 1281–82. http://dx.doi.org/10.1093/eurheartj/ehaa315.

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22

Barolsky. "Reflections on Raphael." Arion: A Journal of Humanities and the Classics 28, no. 2 (2020): 99. http://dx.doi.org/10.2307/arion.28.2.0099.

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23

Barolsky, Paul. "Reflections on Raphael." Arion: A Journal of the Humanities and the Classics 28, no. 2 (2020): 99–122. http://dx.doi.org/10.1353/arn.2020.0027.

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24

Andriopoulos, D. Z. "Raphael Demos Biography." Philosophical Inquiry 40, no. 3 (2016): 1–5. http://dx.doi.org/10.5840/philinquiry2016403/410.

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25

Joost-Gaugier, Christiane L., and Konrad Oberhuber. "Raphael: The Paintings." Sixteenth Century Journal 32, no. 1 (2001): 232. http://dx.doi.org/10.2307/2671454.

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26

Gore, Charles. "Leonce Raphael Agbodjelou." African Arts 48, no. 3 (2015): 70–75. http://dx.doi.org/10.1162/afar_a_00240.

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27

Silver, Larry. "Raphael and Replicas." Art History 41, no. 1 (2018): 201–4. http://dx.doi.org/10.1111/1467-8365.12361.

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28

Dutton, Jillian. "Raphael Sassower'scultural collisions." Social Epistemology 11, no. 1 (1997): 131–36. http://dx.doi.org/10.1080/02691729708578835.

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29

Turner, James Grantham. "RAPHAEL AS POET." Source: Notes in the History of Art 32, no. 2 (2013): 6–11. http://dx.doi.org/10.1086/sou.32.2.23292906.

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30

Barolsky, Paul. "RAPHAEL AND BREASTFEEDING." Source: Notes in the History of Art 34, no. 1 (2014): 16–17. http://dx.doi.org/10.1086/sou.34.1.23882370.

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31

Meyer, Ursula. "Interview Bonnie Raphael." Voice and Speech Review 2, no. 1 (2001): 16–21. http://dx.doi.org/10.1080/23268263.2001.10761440.

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32

Grattan-Guinness, I. "Popper. Frederic Raphael." Isis 91, no. 4 (2000): 840. http://dx.doi.org/10.1086/385033.

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33

Williams, Dudley H. "Ralph Alexander Raphael." Journal of the Chemical Society, Perkin Transactions 1, no. 8 (1999): 835–38. http://dx.doi.org/10.1039/a901111k.

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34

DiFuria, Arthur J. ":Raphael." Sixteenth Century Journal 40, no. 4 (2009): 1313–14. http://dx.doi.org/10.1086/scj40541299.

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35

Britton, Piers D. ":Raphael." Sixteenth Century Journal 50, no. 3 (2019): 918–20. http://dx.doi.org/10.1086/scj5003140.

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36

Künzer, Isabelle, Tino Shahin, and Raphael Brendel. "Ur- und Frühgeschichte, Alte Geschichte." Das Historisch-Politische Buch (HPB) 65, no. 3 (2017): 254–57. http://dx.doi.org/10.3790/hpb.65.3.254.

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Jan Dietrich: Der Tod von eigener Hand. Studien zum Suizid im Alten Testament, Alten Ägypten und Alten Orient (Isabelle Künzer) Peter Franz Mittag: Griechische Numismatik. Eine Einführung (Tino Shahin) Mary Beard: SPQR. Die tausendjährige Geschichte Roms (Raphael Brendel) James H. Richardson, Federico Santangelo (Hg.): Andreas Alföldi in die Twenty-First Century (Raphael Brendel)

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37

Limanskaya, Lyudmila Yu. "Raphael and Pirro Ligorio — Historical and Philological Descriptions and Archaeological Studies of the Architecture of Ancient Rome in the 16th century." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 364–79. http://dx.doi.org/10.21638/spbu15.2022.207.

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The difficulty of comprehending artistic terminology in the Renaissance was associated with the activities of humanist philologists and scholarly antiquarians. Interest in antiquity was inherent in artists and architects. Around the archaeological work of Raphael, Ligorio, associations of learned humanists were organized, which accompanied their archaeological research with philological clarifications. The functions of archeology were combined with the need to check the terms, with the help of a visual, graphically reconstructed monument, which, as a rule, came down with losses. In this regard

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38

Shahin, Tino, Guntram Koch, Raphael Brendel, and Ulrich Lambrecht. "Ur- und Frühgeschichte, Alte Geschichte." Das Historisch-Politische Buch (HPB) 65, no. 4-6 (2017): 414–21. http://dx.doi.org/10.3790/hpb.65.4-6.414.

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Melanie Wasmuth: Ägypto-persische Herrscher- und Herrschaftspräsentation in der Achämenidenzeit (Tino Shahin) Edith Hall: Die allen Griechen. Eine Erfolgsgeschichte in zehn Auftritten (Guntram Koch) Elisabeth Herrmann-Otto: Grundfragen der antiken Sklaverei. Eine Institution zwischen Theorie und Praxis (Raphael Brendel) Elisabeth Herrmann-Otto: Sklaverei und Freilassung in der griechisch-römischen Welt (Raphael Brendel) Marco Vitale: Das Imperium in Wort und Bild. Römische Darstellungsformen beherrschter Gebiete in Inschriftenmonumenten, Münzprägungen und Literatur (Guntram Koch) Nicole Schemm

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39

Joannides, Paul. "Dido and Lucretia: Raphael‘s Designs and Marcantonio‘s Engravings." Bulletin of the John Rylands Library 92, no. 2 (2016): 45–53. http://dx.doi.org/10.7227/bjrl.92.2.5.

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Vasari said that Marcantonio Raimondis first engraving after a design by Raphael was the Suicide of Lucretia, but he most likely confused it with the similar but much smaller Suicide of Dido, also engraved by Marcantonio. Following the Didos success Raphael no doubt wished Lucretia to be larger and bolder. The two figures were probably recycled from a group of dancers, perhaps the Muses, projected for a mural decoration; a drawing by Raphael adapted to Lucretia is precisely in the style of his Parnassus studies The hypothesis that Dido and Lucretia were initially conceived as dancers is suppor

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40

wissman, fronia e. "Renoir's Onions." Gastronomica 9, no. 2 (2009): 7–9. http://dx.doi.org/10.1525/gfc.2009.9.2.7.

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Pierre-Auguste Renoir's painting Onions, at the Clark Art Institute in Williamstown, Massachusetts, was painted in Naples in 1881. Renoir went to Italy in part to see the art of the Renaissance, especially the frescoes of Raphael. Onions is his response to frescoes, but not Raphael's. Instead, he was energized by seeing frescoes from Pompeii and Herculaneum that he saw installed in the National Archaeological Museum in Naples. Renoir's painting also is testimony to his difficulty in finding suitable models from whom to paint. A comparison is made with John Singer Sargent's contemporaneous pain

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41

Spring, Matthew. "How a Utopian Education Paves the Way for the Usurpation of the Family." Moreana 49 (Number 187-, no. 1-2 (2012): 77–103. http://dx.doi.org/10.3366/more.2012.49.1-2.6.

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Raphael’s statements that nothing is private in Utopia and that “the whole island [of Utopia] is like a single family” lead one to consider whether the Utopian system of education and habituation is an attempt to undo the natural connections that join parents to children. While Raphael argues that the community can only supersede the individual once these natural ties have been loosened and the role of the family been usurped, More recognizes that the love that serves as the foundation of family life should be allowed to flourish because it is also the proper foundation of an entire society.

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42

Лубникова, Мария Владимировна. "«Лук вместо наскучивших блюд из петухов»: соперничество в римском художественном мире после смерти Рафаэля". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 337–44. https://doi.org/10.18688/aa2414-4-26.

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Michelangelo’s alliance with Sebastiano del Piombo, concluded with the intention of surpassing Raphael and winning commissions from the heirs of his workshop, is one of the most vivid examples of the bitter artistic rivalry that prevailed in Rome in the 1520s. Michelangelo, at the request of Sebastiano, wrote to Pope Leo X, urging him to “change his diet” and to give preference to any other workshop than Santi’s. But the attempts to attract the attention of the customer were unsuccessful. The patrons were aware that it was the great Buonarroti who sponsored some of the masters with his sketche

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43

Kospolova, N. E. "Inversion of image of Raphael's sublime women." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (July 1, 2020): 33–41. http://dx.doi.org/10.33920/nik-01-2007-05.

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The main idea of research is proof of productivity applications for interdisciplinary research on fine art material. Synthesis of comparative analysis, evolutionary analysis, psychological analysis, theological and anthropological reconstruction personification helps predict nonstandard conclusions concerning allegations of territorial integrity also referred to as omnisexuality image Madonnas by Raphael. Work belies the established views and controversial version ofthe art of the past on the canonicity of iconographic images of Raphael and nominated as exemplars of transcendental creativity a

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44

Crombie, Leslie. "Ralph Alexander Raphael, C.B.E. 1 January 1921 – 27 April 1998." Biographical Memoirs of Fellows of the Royal Society 46 (January 2000): 465–81. http://dx.doi.org/10.1098/rsbm.1999.0096.

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Ralph Alexander Raphael was born in Croydon on 1 January 1921, the eldest child of Jack Raphael and his wife Lily (née Woolf); there were also three daughters. The paternal family hailed from Poland; Ralph's grandfather, Solomon Raphael, was born in Klatchova. At the age of sixteen, in 1864, he had emigrated via Hamburg and Grimsby to avoid being pressed into the Russian army, and then proceeded to London. There, in 1875, he married Sarah Berg, also from Poland, and they formed a well-balanced pair, as a remarkable photograph reveals. Solomon was a fiery-tempered, soft-hearted and very orthodo

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45

Calella, Michele. "Raphael, the Virgin Mary, and Holy Matrimony: Recontextualizing Franz Liszt's Sposalizio." Studia Musicologica 59, no. 1-2 (2018): 3–20. http://dx.doi.org/10.1556/6.2018.59.1-2.1.

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Sposalizio, the piece opening the “Italian year” of Franz Liszt's Années de pèlerinage (first published in 1858), is one of the most analyzed and interpreted compositions in this piano cycle. Much attention has been paid to its connection with the painting of the same title by Raphael, which was printed as an internal title page for the piece's first edition at the explicit request of the composer. This connection has inspired many studies on the relationship between image and music, reinforcing the notion of Sposalizio as a musical realization of Raphael's painting as seen by Liszt for the fi

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46

Avery, Joshua. "Raphael Hythloday and Lucian's Cynic." Moreana 54 (Number 208), no. 2 (2017): 225–37. http://dx.doi.org/10.3366/more.2017.0022.

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This essay responds to an argument made by R. Bracht Branham, who has argued that More's Utopia privileges Raphael Hythloday's voice over Morus's. Branham contrasts this dynamic with Lucian's Cynicus, in which he contends that the dominant Cynic speaker is ironically undermined. For Branham, More's idealism moves him to privilege the idealistic Raphael over the pragmatic Morus. I argue, on the contrary, that Raphael is rather ironically undermined in the same vein as was Lucian's Cynic figure, and that the dialogue reveals a like-mindedness between More and Lucian in their caution against a se

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47

Amendola, Adriano. "The warrior collector." Journal of the History of Collections 32, no. 1 (2019): 13–24. http://dx.doi.org/10.1093/jhc/fhy064.

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Abstract The essay focuses on the military commander Giovanni Battista Castaldo (1493–1563), aiming to reconstruct this figure as a collector and patron. The author analyses the reasons that led Castaldo to found the monastery of Santa Maria ad Montem in Nocera de’ Pagani, where can still be found his portrait bust, here attributed to Annibale Fontana. In the monastery was exhibited the Madonna d’Alba by Raphael, here identified for the first time as the source of a work by Dirk Hendricsz, the presence of Raphael’s canvas in Nocera clarifies the pivotal role played by the painting for the arti

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48

Healy, Patrick. "Design, Demos, Dialectics: Max Raphael's theory of Doric architecture." Cubic Journal, no. 1 (April 2018): 108–23. http://dx.doi.org/10.31182/cubic.2018.1.006.

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The main focus of this paper is to examine the analysis offered of the Temple of Zeus at Olympia by Max Raphael in his study dedicated to the remains of the temple. The temple of Zeus at Olympia is often cited as the canonical example of Doric temple architecture and Raphael examines how a particular design can have such far ranging influence, to which end he elucidates the relationship of design to the activity of a participatory and democratic process specific to the Greek polis. By bringing to bear a highly dialectical analysis of the various forces at play in both construction and the elab

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49

Rebello, Gleeson, and Benjamin Joseph. "Raphael at the Temple." Journal of Pediatric Orthopaedics 41, no. 4 (2021): e353-e355. http://dx.doi.org/10.1097/bpo.0000000000001758.

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50

Illman, Ruth. "Response to Melissa Raphael." Approaching Religion 6, no. 2 (2016): 23–25. http://dx.doi.org/10.30664/ar.67588.

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A response to Melissa Raphael’s article ‘The creation of beauty by its destruction: the idoloclastic aesthetic in modern and contemporary Jewish art’. Key themes discussed include the notion of human beings as created in the image of God, Levinas’s understanding of the face and its ethical demand as well as the contemporary issue of the commodification of the human face in digital media.

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