Today Marks Raphael’s Final Episode – The Last of the “Three Masters of the Renaissance”
Exploring the Three Criteria for Becoming a “Saint” through Raphael
- As one of the “Three Masters of the Renaissance,” Raphael achieved unparalleled artistic success and is revered as the “Saint of Painting.” His journey to “sainthood” reveals that to surpass peers across generations and be recognized as a “saint” in a field, one must not only be a top-tier master but also make profound contributions in inheriting past achievements and influencing future generations.
- To become a “saint” like Raphael, one must first integrate the wisdom of predecessors. Raphael synthesized the strengths of previous masters, particularly the other two Renaissance giants—Leonardo da Vinci and Michelangelo. His works seamlessly blend Leonardo’s rationality and elegance with Michelangelo’s emotional expressiveness.
- Raphael’s “sainthood” also stems from his unmatched status as a supreme master in his domain. For Leonardo, painting was merely a tool for his broader pursuit of truth. For Michelangelo, painting never held the same allure as sculpture. Though both were extraordinary painters, their passion for painting was not boundless, and their artistic output remained relatively limited. In contrast, Raphael, despite living only 37 years, created over 300 works, making him the only one among the three who was entirely devoted to the art of painting.
- The “Saint of Painting” Raphael achieved absolute innovation in artistic expression, defining “perfection” in painting. This perfection manifests in two ways. The first is “passive perfection,” where Raphael, after assimilating the accumulated wisdom of past masters, naturally produced flawless works. The second is “active perfection,” where he actively pursued an idealized beauty that transcended reality while being rooted in it.
- Raphael’s pursuit of perfection surpassed the general artistic aspirations of the Renaissance era. Beginning with Giotto, the Renaissance aimed to break free from the rigid formulas of the Middle Ages and embrace the observation and depiction of nature. Over more than two centuries, various techniques of realism flourished, culminating in Raphael’s genius. However, he sought to go beyond realism. Through years of artistic refinement, he solidified his aesthetic preferences and embarked on the quest for “perfection.” His painting Sistine Madonna exemplifies this, distilling years of his portrayal of the Madonna into a single image that embodies ultimate maternal love and gentleness, establishing the most “perfect” depiction of the Virgin Mary.
- Raphael’s status as the “Saint of Painting” is further cemented by his profound and undeniable influence on later artists. His treatment of light and shadow in The Liberation of St. Peter reappeared frequently in Caravaggio’s works a century later, shaping the Baroque style. The cool color tones in The Transfiguration influenced the Spanish Renaissance. In England, Sir Joshua Reynolds, founder of the Royal Academy, structured the entire British academic art tradition around Raphael’s principles. In France, Nicolas Poussin dedicated himself to pursuing Raphael’s ideal harmony. Even after Raphael’s time, artists recognized for their excellence were often likened to him, earning titles such as “The Raphael of the Baroque,” “The Raphael of the 19th Century,” or “England’s Raphael.”
- Raphael’s far-reaching influence also had an inverse effect. The Pre-Raphaelite Brotherhood, founded in England, emerged as a reaction against his idealized artistic perfection, advocating for a return to nature and authenticity. The mere existence of a movement defined by opposition to Raphael further underscores his immense impact.
- Evaluating Raphael through three lenses—his inheritance of past masters, his achievements in his own time, and his influence on future generations—it is clear that he rightfully deserves the title of the “Saint of Painting.” Notably, these same criteria apply to other “saints” in different fields. For instance, Beethoven, the “Saint of Music,” built upon the techniques of Haydn and Mozart, became the greatest master of his discipline, and left an enduring legacy that continues to inspire generations of musicians.
Raphael – Sistine Madonna, currently housed in the Old Masters Picture Gallery in Dresden, Germany, reflects his active pursuit of “perfection.” It encapsulates years of his experience in depicting the Madonna, forming the most “perfect” representation of her.
Raphael – The Liberation of St. Peter, in which his treatment of light and shadow became a hallmark that was frequently echoed in Caravaggio’s works nearly a century later.
Raphael – The Transfiguration, his final work, where his use of cool color tones influenced the Spanish painter El Greco.
El Greco – The Opening of the Fifth Seal, a representative Spanish Renaissance artist whose handling of cool color tones in the painting was deeply influenced by Raphael.
Tip:
Raphael is the “Patriarch” of the Academic Tradition
Teachers, students, and artists from the academic tradition all fundamentally inherited their scientific painting methods from Raphael. Nearly all academic artists followed Raphael’s approach to painting in their own creations. Therefore, Raphael can be considered the “patriarch” of the academic art system.
