Vinci & Rafael Sanzio Essay, Research Paper
El hombre tiene una sed insaciable de conocer sus or?genes de esta manera se encarrilan hacia un futuro prospero. El renacimiento fue una ?poca moldeada con esta visi?n. El hombre renacentista retorna a fuentes antiguas de inspiraci?n, las adopto y transformo en un repertorio nuevo de temas mitol?gicos y aleg?ricos. Lo que hizo la ?poca m?s extraordinaria aun, fue el coincidir de grandes genios como Leonardo da Vinci y Rafael Sanzio con circunstancia. Fue un tiempo de riqueza substancial y de un gran patrocinio de las artes. Papas, arist?cratas y otros dignatarios le comisionaron varias obras a estos artistas, entre estas el retrato toma un lugar importante.
El retrato se define como una representaci?n del rostro o figura entera de una persona mediante el dibujo, la pintura o la escultura. El arte del retrato existe desde el imperio Vicentino donde fue desarrollado para glorificar grandeza. Las leyes de la antig?edad prohib?an a los artistas de la ?poca pintar retratos de persona que no fuera de nobleza o religioso.
A partir del Renacimiento cualquiera pod?a comisionar un retrato. Por primera ves retratos de pol?ticos, militares, mercantes, figuras m?ticas y personas del diario vivir, fueron producidas por pintores de renombre. Leonardo y Rafael ambos se destacaron en el arte de la pintura y el retrato. Estos retratos no solo glorificaban al patr?n, de ves serv?an como propaganda propia para satisfacer el deseo de gloria personal del artista.
En sus retratos Leonardo buscaba pintar mas que solo la apariencia: “Pinta la cara de tal manera que sea f?cil entender en lo que piensa” esto es cierto de su obra La Dama con Armi?o. Cecilia Gallerani fue amante de Ludovico Sforza, Duque de Mil?n quien comisiona la obra. La joven aparece retratada con un armi?o en los brazos. Probablemente se trata de una alusi?n al nombre de la muchacha, puesto que armi?o en griego se pronuncia “gal?”. Estos juegos eran muy comunes en retratos de otros de la ?poca.
Leonardo matiza una desproporci?n que existente entre la mano y el rostro de la joven, una mano estilizada y elegante que acent?a el porte regio de la modelo. Su cabeza es virada con fuerte torsi?n hacia el hombro izquierdo en un gesto ir?nicamente relajado. Su rostro es suave e infantil, la l?nea curva de su barbilla se repite en la forma del collar doble que descansa en el cuello y sobre su pecho. Su vestimenta es muy sofisticada de colores primarios profundos y muy detallada. Utiliza el claroscuro para enfatizar la forma de la cara, cuello, pecho y brazo, de manera ilustrando una mayor profundidad de la figura. El fondo originalmente no debi? haber sido negro, sino que posiblemente tenia un elemento paisaj?stico, al retrato ser tan retocado en ?pocas posteriores, se crea esta duda. Al fondo ser oscuro se impide el uso del sfumato en mayor parte de la obra, con excepci?n del ?rea donde el brazo y el armi?o proyectan sombra
sobre el torso. El fondo lleva la inscripci?n “La belle Feroniere” la fr?gil figura de manos finas, una s?ntesis de la silueta.
El peinado apretado y vista que evita contacto con el observador la hacen Parecer casta y pura. Esto se ampara con la iconograf?a de le armi?o de dos maneras. El armi?o de piel blanca es s?mbolo de pureza y de nobleza. Adem?s era el animal her?ldico de los Sforza. Las garras extendidas sirven pare demostrar la naturaleza del animal, contrario a su significado moral. Esta tem?tica se puede aplicar a la mujer de la ?poca: La mujer tenia que ser casta pero ofrecerse como amante. De esta manera Leonardo fortalece el significado de la obra.
Rafael tambi?n trata de reflejar el humanismo de sus modelos en sus obras. El autor Baldassare Castiglione y Rafael se hallaban al servicio del Duque de Urbino donde se hicieron amigos. Rafael tomo la oportunidad de pintar el retrato como propaganda mutua Castiglione escribi? “El libro del Cortesano” donde desarrollo un c?digo de comportamiento para la sociedad de la ?poca. El cortesano tenia que poseer aptitud y dominio en el arte y otros fundamentos humanistas, elegancia y elocuencia. En el retrato Castiglione encarna esas virtudes que le exige a los cortesanos.
El Retrato se ha caracterizado por sus colores templados y monocrom?ticos. Rafael atrae la vista usando el claroscuro resaltando el rostro, pecho y manos contra la vestimenta oscura. Castiglione esta situado hacia la derecha pero con la su mirada fija hacia el frente con las manos cruzadas en la falda. Su postura es teatral y auto estilizado. A pesar de esto su rostro es suave y su mirada es sensata y amistosa. Rafael lleva esto acabo utilizando sfumato para trazar la barba. La vestimenta de Castiglione encomienda su trato, las mangas de seda gris eran emblema de la aristocracia y sujeci?n de impresiones.
Muchas de las obras que Rafael ejecut? en los a?os entre 1505 y 1507, son marcadas por la influencia de Leonardo, que desde que 1480 hab?a estado formando las t?cnicas en la pintura. Rafael fue influido particularmente por “La Virgen, El Ni?o Y Santa Ana” obra que es marcada por un intimad y la sencillez rara en la arte siglo quince. Rafael aprendi? el m?todo Florentino de la composici?n piramidal. Las figuras agrupadas como una sola unidad, pero cada retienen su individualidad y forma. Una elemento nuevo de la composici?n y la supresi?n de lo no esencial se distingue los trabajo que ?l pint? en Florencia. Rafael debi? mucho a Leonardo; ?l hizo el uso moderado del claroscuro de Leonardo, y fue influido especialmente por su sfumato. Sin embargo, Rafael fue m?s all? de Leonardo. Creo nuevas formas de la figura cuyas caras redondas y apacibles que revelan sentimientos sencillos y caracter?sticamente humanos, pero de ves elev?ndolos a una perfecci?n sublime y la serenidad.
Bibliography
Reference:
Diccionario Enciclop?dico Larousse
? 1995 ediciones Larousse
britannica
Art/ General:
The Horizon book of the Renascences
? 1961 Manerican heritage publishing
Freedman, Julian; Art: a crash Course
?1998 Ivey Press Limited
Piper, david; The Illustrated History of Art
? 1981 Chancellor Press
Leonardo:
Clark, Kenneth; Leonardo da Vinci
?1993 Penguin Books USA
Marani, Pietro; Leonardo da Vinci: The Complete Paintings
? 1999 Harry N. Abrams, Incorporated
Anamorphic Perspective; stanford.edu/~dmccune/anamorph.html
Cecilia Gallerani; artehistoria/genios/cuadros/4358.htm
El estetico de la mujer; gratisweb/safolesbos/estetico.html
Rafael:
Cocke, Richard; The Complete Paintings of Raphael
? 1997 Penguin Classics of World Art
Jones, Roger; Raphael
?1987 Yale University Press
Meye Zur, Jurgr; Raphael in Florence
? 1996 Art Books Intl
Olga Archive; abcgallery/R/raphael/raphael.html
Raphael gallery; sunsite.dk/cgfa/raphael/raphael3.htm
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