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    Raphael
    Raphael
    Raphael
    Ebook92 pages1 hour

    Raphael

    By Estelle M. Hurll

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    A collection of 15 pictures (in black and white) with a portrait of the painter with Introduction and interpretation by Estelle Hurll.According to Wikipedia: "Raffaello Sanzio da Urbino (April 6 or March 28, 1483 – April 6, 1520), better known simply as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period... Estelle May Hurll (1863–1924), a student of aesthetics, wrote a series of popular aesthetic analyses of art in the early twentieth century.Hurll was born 25 July 1863 in New Bedford, Massachusetts, daughter of Charles W. and Sarah Hurll. She attended Wellesley College, graduating in 1882. From 1884 to 1891 she taught ethics at Wellesley. Hurll received her A.M. from Wellesley in 1892. In earning her degree, Hurll wrote Wellesley's first master's thesis in philosophy under Mary Whiton Calkins; her thesis was titled "The Fundamental Reality of the Aesthetic." After earning her degree, Hurll engaged in a short career writing introductions and interpretations of art, but these activities ceased before she married John Chambers Hurll on 29 June 1908."

    LanguageEnglish
    PublisherSeltzer Books
    Release dateMar 1, 2018
    ISBN9781455431274
    Raphael

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      Book preview

      Raphael - Estelle M. Hurll

      RAPHAEL SANZIO D' URBINO (BY HIMSELF), Uffizi Gallery, Florence

      RAPHAEL -  A COLLECTION OF FIFTEEN PICTURES  AND A PORTRAIT OF THE PAINTER, WITH INTRODUCTION AND INTERPRETATION, EDITED BY ESTELLE M. HURLL

      published by Samizdat Express, Orange, CT, USA

      established in 1974, offering over 14,000 books

      Art books by Estelle Hurll:

      Michelangelo

      Child-Life in Art

      Correggio

      Greek Sculpture

      Landseer

      The Madonna

      Millet

      Raphael

      Rembrandt

      Reynolds

      Titian

      Tuscan Sculpture

      Van Dyke

      feedback welcome: info@samizdat.com

      visit us at samizdat.com

      BOSTON AND NEW YORK

      HOUGHTON MIFFLIN COMPANY

      The Riverside Press Cambridge

      Copyright, 1899, BY HOUGHTON, MIFFLIN & CO

      PREFACE

      INTRODUCTION

      I  THE MADONNA OF THE CHAIR

      II  ABRAHAM AND THE THREE ANGELS

      III  THE MIRACULOUS DRAUGHT OF FISHES

      IV  THE SACRIFICE AT LYSTRA

      V  HELIODORUS DRIVEN FROM THE TEMPLE

      VI  THE LIBERATION OF PETER

      VII  THE HOLY FAMILY OF FRANCIS I

      VIII  ST. CATHERINE OF ALEXANDRIA

      IX  ST. CECILIA

      X  THE TRANSFIGURATION

      XI  PARNASSUS

      XII  SOCRATES AND ALCIBIADES

      XIII  THE FLIGHT OF ÆNEAS

      XIV  ST. MICHAEL SLAYING THE DRAGON

      XV  THE SISTINE MADONNA

      XVI PORTRAIT OF RAPHAEL

      PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

      PREFACE

      The object of this collection of prints is to introduce the student to Raphael through the pictures which appeal directly to the imagination with some story interest. With this characteristic as the leading principle of choice, the variety of subjects is perhaps as wide as the conditions admit. No attempt is made to represent all the sides of the painter's art; his portraits are ignored and his Madonnas inadequately represented, in order to give place to pictures which awaken as many points of interest as possible. Within these narrow limits Raphael, as an illustrator and a composer, is even in these few pictures clearly represented.

      Had choice been limited to pictures painted throughout by Raphael himself, the value of the collection would have been seriously affected, as some of the master's most interesting works were handed over to his pupils for execution. Our list, however, contains only such works as are at this date reckoned indisputably to be from Raphael's own designs.

      The text has only the modest aim of making the pictures intelligible. Critical explanations are beyond its scope, and historical data are for the most part relegated to the accompanying tables. The Introduction is intended for teachers, and contains suggestions for a comparative study of the pictures which may be carried out at discretion.

      All the reproductions in this book are from photographs made directly from the original paintings. In order to get the best results a careful comparison was made of the work of leading photographers. The photographer of each picture is mentioned in the Table of Contents.

      ESTELLE M. HURLL.

      New Bedford, Mass.

      June, 1899.

      INTRODUCTION

      I. ON RAPHAEL'S CHARACTER AS AN ARTIST.

      No one of the old Italian masters has taken such a firm hold upon the popular imagination as Raphael. Other artists wax and wane in public favor as they are praised by one generation of critics or disparaged by the next; but Raphael's name continues to stand in public estimation as that of the favorite painter in Christendom. The passing centuries do not dim his fame, though he is subjected to severe criticism; and he continues, as he began, the first love of the people.

      The subjects of his pictures are nearly all of a cheerful nature. He exercised his skill for the most part on scenes which were agreeable to contemplate. Pain and ugliness were strangers to his art; he was preëminently the artist of joy. This is to be referred not only to his pleasure-loving nature, but to the great influence upon him of the rediscovery of Greek art in his day, an art which dealt distinctively with objects of delight.

      Moreover Raphael is compassionate towards mind as well as heart; he requires of us neither too strenuous feeling nor too much thinking. As his subjects do not overtax the sympathies with harrowing emotions, neither does his art overtax the understanding with complicated effects. His pictures are apparently so simple that they demand no great intellectual effort and no technical education to enjoy them. He does all the work for us, and his art is too perfect to astonish. It was not his way to show what difficult things he could do, but he made it appear that great art is the easiest thing in the world. This ease was, however, the result of a splendid mastery of his art. Thus he arranges the fifty-two figures in the School of Athens, or the three figures of the Madonna of the Chair, so simply and unobtrusively that we might imagine such feats were an every-day affair. Yet in both cases he solves most difficult problems of composition with a success scarcely paralleled in the history of art.

      Even the Master himself seldom achieved the same kind of success twice. His Parnassus lacks the variety of the School of Athens, though the single figures have a similar grace, and the Incendio del Borgo or Conflagration in the Borgo, with groups equal in beauty to any in the other two frescoes, has not the unity of either. Again, while the Parnassus and the Liberation of Peter show a masterly adaptation to extremely

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