The School of Athens: “The First Painting of the Renaissance”

Raphael, compared to the other two members of the “Three Greats of the Renaissance,” Leonardo da Vinci and Michelangelo, was an artist who devoted himself entirely to painting. Raphael has many masterpieces, but today we will discuss the one that embodies the spirit of the Renaissance most deeply.

The School of Athens: “The First Painting of the Renaissance”

1. Throughout history, there have been many talented artists who passed away young, often referred to as the “club of premature deaths,” and Raphael can be considered the “leader” of this group. Such a gifted Renaissance master, who mastered various artistic skills, only lived for 37 years, which is truly unfortunate. However, in his brief artistic career, he left over 300 works, which are of immense artistic value. Among them, the frescoes created in the four rooms of the Pope’s residence can be seen as a microcosm of his entire body of work, representing his achievements at different stages of his career.
2. The “Four Rooms of Raphael” refers to four rooms in the Pope’s residence in Rome that Raphael decorated with frescoes during his time there. Raphael’s 12 years in Rome were his most peak and glorious years. During this period, he decorated one room every 3-4 years, painting frescoes for the Pope’s residence. These frescoes document the evolution of Raphael’s style and serve as the best window for later generations to understand his work. The “Four Rooms of Raphael” has even become a specialized academic term.
3. Among the four rooms, the fresco The School of Athens in the first room can be called “The First Painting of the Renaissance.” This room was the Pope’s signing hall, where important documents related to religious affairs were signed. Raphael left paintings on various walls of the room, with The School of Athens being the most important. Not because it showcases the highest technical skill or artistic achievement, but because it is the most representative of the Renaissance spirit.
4. In terms of content, The School of Athens is undoubtedly the painting that most embodies the spirit of the Renaissance. Athens was the most powerful city-state of ancient Greece; the Academy of Athens, founded under the guidance of the famous philosopher Plato, was the first institution where people from various fields could discuss academics and exchange ideas. The Renaissance aimed to revive the glory of ancient Greece and Rome, to bring culture, art, and all other fields back to prosperity, and the best model for learning was the ancient figures depicted in the painting, who are engaged in lively discussions at the Academy of Athens.
5. Raphael, not knowing what the ancient philosophers looked like, chose to represent them with contemporary Renaissance masters, aligning them with the great figures of ancient Greece. While this includes his personal preferences, it also highlights the brilliance of the Renaissance. In the center of the painting, the long-haired figure with his right hand pointing to the sky is the great Greek philosopher Plato, whose image is based on Leonardo da Vinci, showing Raphael’s admiration for Leonardo. Standing beside Plato is his student Aristotle, another great philosopher, whose figure is modeled after Bramante, a prominent architect of the Renaissance who recommended Raphael to the Pope. On the lower steps, sitting in rags, is the cynic philosopher Diogenes, leaning on a box, whose image is based on another Renaissance master, Michelangelo. Some also claim that the figure leaning on the box is Heraclitus, the founder of dialectical philosophy, with Diogenes standing on the steps behind him.
6. The representation of the Renaissance spirit in The School of Athens is also reflected in its environment. This room was used for the Pope’s political affairs, and Christianity, being a monotheistic religion, rejected all non-Christian theological systems. However, in this painting, alongside the famous figures of ancient Greece, Raphael also depicted statues of Greek gods Apollo and Athena, which is undoubtedly a bold expression of the Renaissance spirit.
7. From a technical perspective, Raphael’s handling of the group of figures in The School of Athens is no less impressive than Leonardo’s. In The Last Supper, Leonardo depicted 13 individuals, each with distinct expressions. The painting’s perspective is accurate, and it captures a dramatic moment, making it a peak work in Leonardo’s career. In Raphael’s painting, there are far more than 13 figures, and the expression of each person is captured perfectly, with the overall composition harmoniously arranged, rivaling The Last Supper.
8. Raphael playfully included his own image, as well as that of his possible lover, in The School of Athens. Among all the figures in the painting, most are either engaged in discussion or deep in thought, but only two are looking directly at the “camera.” The figure on the far right is Raphael himself. He positioned himself and his lover alongside the greatest masters of history, as if saying to the viewer, “Yes, we are standing with them.”