Analysis of “The School of Athens” by Raphael Essay

Raphael, the youngest of the threesome great artists who defined the Italian spunky metempsychosis, was born in the small yet artistically world-shattering Central Italian city of Urbino. It seems that Raphael attained his intrinsic gift of creativity from his father who was a poet and a painter. Orphaned at an early age, Raphael was sent to be an apprentice to the distinguished painter Perugino, and by the peckish age of twenty- wizard had flourished into an impeccable artist with talent surpassing that of his micturateforcetor. Over the course of the next quadruple years, Raphael lived and blended in Florence along view Leonardo DaVinci and Michelangelo. Raphael could non escape the imminent define of these two legendary artists. By 1508, Raphaels reputation had already been established and at the age of twenty-five he was summoned by pope Julius II to decorate the walls of the papal apartments in the Vati tolerate Palace, which happened to be just steps away from where Michelangelos Sistine detonating device was in progress. This commission allowed for the creation of the world-renowned fresco titled, The School of capital of Greece.This work is revered as one of Raphaels greatest achievements and possibly the greatest achievement of the High Renaissance period. This commission would bring Raphael deserved information and notoriety and ultimately led to him becoming the leading painter in all of Rome. The School of Athens is a painting of world-renowned stature because of its impeccable harmony, which was characteristic of Raphaels work. In order to understand the influence of this piece one must recognize Raphaels overall achievement here he successfully created a scene of nearly sixty enrols, each individual and alive, that yet combines in a construct that is harmonious, clear, and befitting the chaste importance and dignity of its subject. Harmony is created in part by the use of differentiate elements. Most obvious of these elements wou ld be the differing philosophical ideas of the two principal characters, Plato and Aristotle.Plato is shown pointing upward suggesting his emphasis on the universe of a spiritual realm beyond the physical world. The gesture is a reference to, Platos bet in the world of ideas, a meta-world that exists beyond our comprehension of humans (Crenshaw 126). On the other hand, Aristotle gestures his hand downward(prenominal) stressing his belief that the physical world is the basis of all companionship and understanding. Plato carries the Timaeus, one of his dialogues that explains his belief in the reality of a world of ideal forms which exists beyond the material universe. Aristotle is shown retentivity his famous Niomachian Ethics that illustrates his belief that knowledge is only gained through empirical observation and experience of the material world. The two figures be further lay by their sense of movement and their age. Plato appears to be an older gentleman who seems to b e moving with an air of labor and grace while Aristotle is a younger man who seems to be moving forward with a greater sense of urgency and energy.The picture is then divided neatly in half, the idealists or thinkers who concerned themselves with ideas and nip concepts (Crenshaw 126) are on the left side with Plato. To the left of Plato in a dark green robe, Socrates can be seen engaging in an argument amongst a circle of his disciples enumerating points on his fingers, in a classic visualization of the Socratic argumentation technique (Crenshaw 126). Socrates was an influential and revolutionary Grecian philosopher whose work was meant to show how argument, debate, and tidings could help man to understand and resolve difficult issues. Although the notion that this figure is indeed Socrates has been widely received for generations, a new idea has recently emerged among art historians. These historians speculate that Socrates is actually the figure shown sprawled about on the ste ps directly in front of Plato and Aristotle. more or less inte backup maning theories support their argument. The first point they require states that, compared to most of Raphaels figures who are rather richly dressed, this man, with his simple, bare-shouldered himation, gives the impression of far more modest tastes.He excessively seems to have come from an earlier era (Bell 641). These obvious features accurately describe Socrates. other outstanding point to note would be the placement of this figure. One cannot deny that the figure is in a place of specific significance and attention. Our eye is drawn first to the central figures, Plato and Aristotle, and secondly to the figure lying on the steps in front of them. The new identification of Socrates suggested here, places the three most important philosophers in the boil down of the School of Athens, where they are depicted without any intervening figures between them (Bell 641). This strategic placement allows for a natura l emphasis on the three most influential philosophers of all time. This new identification becomes problematic when one considers the fact that for most of history, this figure on the steps has been identify as Diogenes the Cynic. Diogenes philosophy encouraged men to live a life of control and to reject all forms of luxury.He sought to expose the inconstancy of most conventional standards set by society. While Diogenes was a philosopher of significant stature he does not measure up to the over arching influence of the famed Socrates. This figure has been widely accepted as Diogenes because of his apparent demeanor and clothing. The figure is shown in what some refer to as rags, which supports the argument that this character is Diogenes. Another element that supports this man being Diogenes is the way the character interacts with the philosophers around him. He appears to be withdrawn from the rest of the conclave, which was characteristic of Diogenes, who was considered by most to be an individual who lived on the fringes of society. Although this figure could possibly be Diogenes, I conclude that the new identification suggesting that this figure is actually Socrates proves more convincing. If the figure on the steps is Socrates, where is Diogenes? Some art historians have theorized that Diogenes is the man standing alone under the statue of the God Minerva. No other philosopher appears so unkempt and disheveled, almost shunned by his fellow Athenians.Adding further evidence to this theory, it would be appropriate to portray Diogenes as a very old man, dressed in only a simple red-brown cloak, which, according to Laertius, he wore everywhere (Bell 643). In my opinion, I would argue that this new identification is indeed more valid than the previously accepted version. The fact that not all of these figures have been correctly identified or even identified at all, keep art historians interested in the work. Perhaps Raphael intentionally left the identiti es of these two figures unexplained to spark the viewers curiosity. In the lower left foreground Pythagoras is shown illustrating his musical theorem (Crenshaw 126) to a group of his students. Shown leaning on a block in the foreground is the pre-Socratic philosopher Heraclitus, who claimed that understanding is realized through introspection. Heraclitus seems to be lost in apprehension and appears to be uninterested in interacting with the other figures surrounding him.This figure is thought to be a portrait of Michelangelo therefore portraying him as a man of little mixer capability. Raphael is possibly also contrasting himself to Michelangelo suggesting that Michelangelo is a man of quiet introspection while he is a sociable man who is well liked by all. The realists or Aristotelians are on the right side with Aristotle. Further emphasizing their realist ideals the right side of the painting is shown under the statue of Minerva, the goddess of wisdom and the sense of sight (Cre nshaw 126). Shown in the lower left foreground is Euclid, the Greek mathematician, and his four students absorbed in their mathematical demonstration. Euclid is remembered as the fetch of Geometry. He also researched and closely observed optics and perspective (Janes 57).Euclid resembles the influential architect Bramante, who was a friend of Raphael. Zoroaster and Ptolemy are shown facing opposite one another directly above Euclid. Zoroaster, a philosopher of ancient Persia, shown here holding a celestial globe is discussing with Ptolemy, the Greek geographer who believed that the earth was the center of the universe, holds a terrestrial globe (Janes 57). instanter above Ptolemy and Zoroaster is a figure standing alone wrapped up in his cloak and his thoughts. This figure is the lawgiver Solon. Tucked into the right corner of the composition is Raphaels teacher Perugino. By placing Perugino in the composition, Raphael is cover his deep respect for his mentor and thanking him for sharing his knowledge. The figure next to Sodoma is actually a self-portrait of Raphael himself. By placing himself along with other artists in the scene, Raphael asserts that art is, in fact, an intellectual enterprise a form of study and enquiry, not merely a manual activity (Crenshaw 126).It is also no coincidence that Raphael places himself on the Aristotelian side, among philosophers who work from observation. The School of Athens is considered to be one of the most important achievements of the High Renaissance. This work exemplifies the High Renaissance in the graceful movements and gestures of the figures. All the figures appear to be moving and actively interacting with one another. The figures are also very large in scale and fully idealized in form. The fact that this gathering is wholly idealized is also characteristic of the High Renaissance. The philosophers come from a wide range of times and places who could not have possibly met or interacted with one another. Th e composition displays the gathering under an architectural framework that is smelling(p) of the Italian Renaissance architect Bramantes plan for the New St. Peters. During the early 16th century, architecture was enliven by the grandiosity and monumentality of ancient Roman buildings such as the Coliseum in Rome.The main architectural element portrayed in the fresco is executed in the classic Doric style, characterized by simplicity and minimalism of decoration. The architectural framework also creates a sense of symmetry and special depth. All of the elements express above combine to make this work a masterpiece of the High Renaissance. The School of Athens is undoubtedly a work of art that will continue to be viewed as an outstanding achievement of the High Renaissance, and the most impeccable work produced by the famous Raphael. Art historians will continue to research the work and perhaps uncover the philosophers depicted whose identities have yet to be revealed. The legacy of this pice de rsistance lives on.