A Escola de Atenas, by Rafael Sanzio: detailed analysis of the work
To the School of Athens (Scuola di Athens, not original) is considered one of the most famous works of Rafael Sanzio, or Rafaello, two great genres of Italian High Renascence.
A painting of large dimensions (5 m x 7.7 m) was produced between the years 1509 and 1511, by order of the Vatican, and was found in Stanza della Segnatura, to a library that belongs to Pope Julius II.
Analyze the work To the School of Athensby Rafael
We are waiting for two four fresh fruits located in the saleta da Stanza della Segnatura that will serve as representation for the different forms of knowledge. Here, or focus is on the School of Athens, more known as the Academy of Platão, two high points of the intellectual life of Grécia Antiga.
It is also about a tribute to Philosophy that reveals influence and revaluation of classical thought in force during this period. We other Africans, we find references to Theology, Poetry and ao Direito.
Dispostas numa perspective sem falhas, as is positioned by fossem adores, the painting presents about sixty figures that cross and discuss their theories, representing
some of you brighter minds da Grécia Antiga.As main figures represented in the work
It starts from two people who are very easy to identify (for example, Platão e Aristóteles ao center), other types of identifications have the same parallels as contemporaries of Rafael.
Two sides, and above all, we can also find two statues that symbolize great deuses of Greek mythology. Apollo [figure 13], representing light from true, to schematic, and Athena [figure 12], from wisdom, from civilization and from mathematics, directly.
Platão (428/427 BC) C. - 347 a. C.)
At the center and at the top [figure 2], in a prominent position, there is Platão, or founder of the Academy who was also a great philosopher and mathematician.
O disciple of Socrates and mentor of Aristotle apon for summit, in reference to or seu idealistic and metaphysical thinking. With another hand, make sure you have a copy of Timeu, um two main dialogues of him, marked by reflections on the eternal world.
Aristotle (384 a. C. - 322 a. C.)
Not at the center, à direita, is Aristotle [figure 1], lent mainly by his philosophical work, but now he has been debruced on various matters.
He appoints him to face, to the one who is in lord, assassinating or terrestrial world and to his empirical view about conhecimento. Like another man, the sure one is exemplar da Ethics to Nicômaco, uma das suas fundamental works of him.
Socrates (469 a. C. - 399 a. C.)
From them, on the side of the painting, there is Socrates [figure 3], or thinker appointed as two founders of western philosophy.
Distracted by what is happening, no center, or master is on the coast and talks like his disciples, gesturing, as someone tells or explains something.
Epicurus (341 BC) C - 271/270 a. C.)
O philosopher who was born to Epicurism, a stream of thought that tranquility through two small prazeres it gives life, it does not come out of a slender song of afresco [figure 5].
Chorused with videira pages, a symbol associated with joy and happiness, Epicurus is writing a book, surrounded by two serious followers of him.
Pythagoras (571/570 BC. C. - 500/490 a. C.)
The famous philosopher and mathematician [figure 6] was painted writing a modern book, in a group of students or observing attentively, taking notes of his explanations.
Nowadays, with his theorem, Pythagoras was a fundamental master for the advances of his mathematics, geometry and arithmetic.
Heraclitus (500 a. C. - 450 a. C.)
Known as either "obscuro", or a pre-Socratic philosopher (who defended that life "all flowed") he emerges in the foreground, sitting down and isolated two others.
This seems to be a reference to melancholic spirit of Heraclitus [figure 7], who writes as my face is not a face, a posture of contemplation.
Diogenes (412 BC) C. - 323 a. C.)
In fact, I do not have two degraus, I read a document in a relaxed way, there is Diogenes [figure 8], an unparalleled figure of Grécia Antiga.
A position in which he finds himself is led by the philosopher himself who decided to live in the streets, as a beggar. Detaching or being able to be materialized, he faced poverty as a path to find virtue e lead a natural life.
Euclid (approximately 300 BC) C. - sem data)
No direct lower edge of painting [figure 9], we are a mathematician and disciple of Socrates who was known as or "pai da Geometria".
As a bent body, or professor uses a compasso to undo numa lousa, explaining two serious principles of it. À sua volta, some of us will observe your movements and learn from them.
Ptolemy (90 - 168) and Raphael (1483 - 1520)
Next to Euclid comes Ptolemy [figure 10], or geographer and astronomer who defended that Terra was or the center of the Universe and was represented securing a balloon.
At his volta, there are various homens that he or she, including a figure that goes directly to the spectator [figure 11], as they face and face their attention.
I know that this young man can represent or Rafael himself, trying to be a kind of message that the painter has left, "assassinating" his work.
Other figures and possible parallels
As well as the possible presence of the painter, there are other artists in their own time that seem to be referenced in a great work. É or case of Michelangelo (1475 –1564), a two mestres da Renascença, which may be inspired by the appearance of Heraclitus.
I also have to defend other possible tributes, for example, that the figure of Platão was based on Leonardo da Vinci (1452 - 1519) e a de Euclid em Twine (1444 –1514).
Despite the historical and artistic importance of the work, and if it is thoroughly studied by specialists, there are still questions to be asked. Some figures are only partially identified, dealing with hypotheses with confirmation. É or case of nomes como Antisthenes, Xenophon, Esquines or Archimedes, between others.
Also Alexandre, or Great (356 a. C. –323 a. C), who was a disciple of Aristotle, can be found on the skeleton side of Afresco [figure 4], conversing with Socrates.
Although the suits and war elmo seem to confirm this theory, there is also a hypothesis that it is the political and strategic Alcibiades (450 BC). C - 404 a. C.).
Importance and meaning of the work
A majestic work full of fascinating details, To the School of Athens brings together some of the two greatest thinkers of Antiquity, who will live and produce in quite different times.
Here, they are all placed not at the same time and space, as they live together and dialogue, bartering visões About the world and its own philosophy.
A powerful imagem transmits uma idea of continuity, as mentioned above, there are no two others isolated, but it works best in the network and part of the same matrix (centered in the Platão).
O afresco became one of the works of Rafael Sanzio, representing try to give true love or love with conhecimento Enquanto engines of change and human evolution.
Inspired by the cultural heritage of Grécia Antiga, To the School of Athens recovers themes and forms of classical imagery, also fulfilling two main objectives of Renaissance painting.
Rafael Sanzio in the historical context of the criação
Rafael Sanzio (1483-1520) was one of the two great names of the Italian Renascença, alongside stratospheric artists such as Michelangelo and Leonardo da Vinci. Even during childhood, he became an apprentice to the painter Pietro Perugino and at the age of 17 he was once considered a master.
At the age of 25, Rafael was hired by Pope Julius II to produce works for the Vatican, something that increased exponentially to his fame and fez as he was known as "Prince two Painters".
Foi during this period that the artist produced or fresh in analysis; It is not known or what objective foram the instructions that the recebeu com entrust of the painting is not mastered, or not, the knowledge of classical philosophy.
The painter stayed in Rome for twelve years and also worked for his successor Pope, Leão X. Depois da morte de Bramante, or the Vatican architect, Rafael passed to assume the position of responsibility for the works in progress.
A prodigal painter, who died prematurely, on his 37-year anniversary, was buried in the Pantheon of Rome. O seu nome of him continues eternalized as one of the two greatest Italian artists and one unconventional figure of Renaissance painting.
Find out more about a life and the main works of Rafael Sanzio.
Conheça also:
- Afrescos do Teto da Capela Sistina
- Renascimento: all about Renaissance art
- Aristotle: life and works
- Ethics to Nicômaco
