School of Athens Flashcards
subject?
The fresco depicts some of the most famous philosophers of ancient times engaged in discussion amidst the splendour of a classical Renaissance chamber.
Stanze di Rafaello?
The fresco was part of Raphael’s commission from Pope Julius Il to decorate his suite of apartments in the Apostolic Palace in the Vatican. The commission was probably the pope’s attempt to outshine his predecessor.
Stanza della Segnatura?
It was painted for for Pope Julius Il’s private library, the first room to be decorated by Raphael’s frescoes. The themes of theology, philosophy, and justice is appropriate as this room was where most of the important papal documents were signed and sealed.
Position of the fresco?
The philosophers face outwards towards the opposite wall in the stanza which depicts the Holy Sacrament This suggests the interpretation of the whole room as the movement from the world of classical philosophy the world of Christianity.
Architectural setting?
The figures occupy a classically-inspired building in the shape of a Greek cross, which shows a harmony between pagan philosophy and Christian theology. The architecture of the building was also inspired by Bramante’s recent reconstruction of the Sistine Chapel, and who, according to Vasari, helped Raphael secure the commission.
Influence of High Renaissance style?
The frescoes demonstrate the characteristics of the high Renaissance styles with their incorporation of humanistic elements. Its formal aspects are modelled after the Classical principles of harmony, balance, and symmetry, and a Renaissance interest in linear perspective, and complex illusionism.
Aristotle (right) ?
Aristotle holds book, ethics, and his palm faces down, reflecting his philosophy that the only reality is the one that we experience by sight and touch (exactly the reality dismissed by Plato).
Plato (left) ?
Plato holds his book, Timaeus, and points up, reflecting his philosophy that the changing world was a reflection of a higher, truer reality, and the seat of all truth, beauty, justice, and wisdom.
Pythagoras?
Pythagoras (in the lower left of the composition) believed that the world operated according to mathematical laws which were related to cosmic harmony, and thus (for the Renaissance humanists) to God.
Raphael’s self portrait?
In the lower-right of the composition, the artist stares directly out of the viewer. Demonstrates the changing status of the artist from the medieval craftsman to the artistic genius of the high renaissance, prompted by a humanist interest in artistic ingenuity and the writing of Vasari
Influence of Humanism and Neoplatonism?
Humanists thought that geometric principles could unlock the mysteries of the universe and reveal the intentions of God - seen here in the emphasis on proportion, balance and symmetry.
Brunelleschi’s development of linear perspective 1415?
Demonstrated by Raphael’s use of a horizon line orthogonal lines and vanishing point which creates the convincing impression of three-dimensional space.
Pope Julius II
Also known as ‘the warrior pope’, thanks to his policies during the Italian Wars, the Papal States maintained considerable diplomatic and political power.
Papal Patronage?
The motivation behind Julius’ was a desire to make the wealth and power of the Catholic Church obvious to everyone, as well as as interested in preserving his own image. Being a patron was seen as the mark of a great man due to the humanist interest in the liberal arts, and Julius furthered this by creating parallels between the religious nature of the art he commissioned and his own piety.
Fresco?
Executed on freshly laid plaster. Fast-drying so artists must use a hatching technique to replicate shadow. The artist must work quickly and any mistakes are difficult to reverse.
Colour?
Used symbollically - Plato wears red and purple referring to air and fire (neither of which have weight) whereas Aristotle wears blue referring to earth and water, which carry weight - reflecting the contrasting philosophies.
Raphael’s cartoons
Raphael produced multiple preparatory sketches and cartoons beforehand. The artist made the full-scale preparatory drawing so he could show the design to his patron, Pope Julius Il beforehand.
High Renaissance style? Identity
Seen here in the Christian subject matter fused with renewed interest in classical antiquity and the use of linear perspective. However Raphael’s interest in ‘Florentine diseeno can be seen in the crispness of line. The High Renaissance represented the culmination of the Early Renaissance, reflected in Raphael’s realistic representation of figures in space rendered with credible motion.
Through his patronage, Pope Julius II was determined to make the papacy the most important power in Italy and turn Rome into an artistic centre that would outshine Florence.
