Raphael : Raffaello Santi (1483-1520), one of the masters of the Italian High Renaissance style. He was the youngest of the three great artists of the High Renaissance, the others being Leonardo & Michelangelo.
... and the indwelling "Spirit of God", the other to an objective condition of terrestrial life at the end of history. And both the states are implied in the climax which is put in Adam's mouth after Raphael has revealed to him how Man's historical travail born of his Fall will terminate - historical travail acquiring an utterly new orientation by the coming of Christ once in the midst of history and again... last, shining brightest, we have a whole passage foreshadowing the long description of Christ's work and of the world's end in Book XII. Let us look at some of the highlights of this description. Raphael says to Adam: Page 159 thy punishment He shall endure, by coming in the flesh To a reproachful life and cursed death, Proclaiming life to all who shall believe In... into bliss, Whether in Heaven or Earth; for then the Earth Shall be all Paradise, far happier place Than this of Eden, and far happier days. 25 Less than a hundred lines later Raphael reverts to the subject of the World's end after speaking of the decline of Truth and works of Faith: Page 160 So shall the World go on, To good malignant, to bad men benign ...
... familiar matters. John Bailey 6 well observes: " 'War seemed a civil game / To this uproar,' says Raphael, as if he were fresh from reading Livy or Gibbon and had all the wars of Europe and Asia in his memory... and, interesting as the passages are, it is difficult to forget the incongruity of Raphael and Adam discussing the Ptolemaic and Copernican theories of the universe, or Adam moralizing on... of his first marriage...." Adam we find also talking at times "like a weary scholar" or like a student of the Schoolmen of the Middle Ages or "like a doubting Christian in an age of speculation". Raphael once breaks in with a question proper to a Platonic philosopher; and Milton, the chronic sufferer from gout which is one of the most painful diseases, lets us hear his own voice speaking when Nisroch ...
... Galileo. When the French lost Milan in 1513, Leonardo, now sixty, again had to move. He left for Rome where the art-loving Pope Leo X (formerly Giovani di Medici) commissioned great works from Raphael, Michaelangelo, Bramante and Peruzzi. 22 He was entertained at the Belvedere, a summer palace atop the Vatican Hill, but Mona Lisa Virgin, Child and St... And yet Leonardo's studies of the horse were probably the best work done in anatomy of that age; Ludovico and Cesare Borgia chose him, from all Italy, as their engineer; nothing in the paintings of Raphael or Titian or Michaelangelo equals The Last Supper; no painter has matched Leonardo in subtlety of nuance, or in the delicate portrayal of feeling and thought and pensive tenderness; no statue... and tried to consolidate the Vatican after the devastating rulership of Pope Alexander VI. Bramante (1444-1514), the architect of St. Peter's Bassilica, Michaelangelo (1475-1564) the sculptor, and Raphael (1483-1520) the painter were among the artists who found generous employment in Rome during his reign. 23. Vasari, as quoted by Richter, op. cit., p. 377. 24. Benevenuto Cellini, quoted by ...
... the form, at least, the feeling of actuality in their composition. Thus a Chinese, a Japanese, or a Persian masterpiece cannot be said to be "natural" in the sense in which a Tintoretto, or even a Raphael is natural; yet a sense of naturalness persists, though the appearance is not naturalistic. What Indian art gives is not the feeling of actuality or this sense of naturalness, but a feeling of truth... s, fundamental modes of consciousness in its universal and transcendent status. It is this that the Indian artist endeavours to envisage and express. A Greek Apollo or Venus or a Madonna of Raphael is a human form idealized to perfection, – moulded to meet the criterion of beauty which the physical eye demands. The purely æsthetic appeal of such forms consists in the balance and symmetry, the... tion in activity, any reaction or set of reactions in the kinetic system, nor even to the mental state, the temperament, immediately inspiring it, but to a still deeper status of consciousness. A Raphael Madonna, for example, purposes to pour wholly into flesh and blood the beauty of motherhood. A Japanese Madonna (a Kwanon), on the other hand, would not present the "natural" features and expressions ...
... As for Léonard de Vinci, Michel Ange 1 and Raphael, I cannot put them on the same level. The two first are far greater than the last. They both belong to the world of creative force, Léonard with more subtlety and quiet, deep vision and purity, Michel Ange with more force and power especially in his sculptures which are incomparably magnificent. Raphael is more mental and superficial. 30 June ...
... the epic Milton in another of his tenderer and most beautiful spells. Archangel Raphael and the Guardian Cherubim of Eden have been missioned by God to see the human pair out of Paradise, not urgently yet with the brandished sword of God blazing high in front and the bright array of Cherubim closing in behind. Raphael personally takes them to the frontier of common earth: In either hand the ...
... "Transfiguration" by Raphael. A great critic says that the religious background of this painting is not its essential part, it is an overtone, it has nothing to do with the pure "aesthetic emotion". It is the disposition of masses, the composition of the picture, the design and the colour-scheme that give rise to pure aesthetic emotion. A. Do you mean to say that Raphael while painting the picture ...
... in Blake's memory from Milton. Once in Paradise Lost they occur together in the very way to serve as a starting-point for Blake's line. Their togetherness is with reference to Adam and Eve when Raphael tells Adam that the bodies of man and woman may at last turn all to spirit, Improv'd by tract of time, and wing'd ascend Ethereal... 177 But, as the word "ascend" has... further interest is that Milton's grand finale points beyond Heaven to Hell, "the bottomless pit", 243 and the passages which follow bring in the human world as a conceivable victim to Satan's wiles. Raphael, immediately after speaking of the "war in Heav'n" and its result to the companions of Satan, tells Adam about that fallen Archangel: "he who envies now thy state, Who now is plotting ...
... now. As for Leonard de Vinci, Michel Ange and Raphael, I cannot put them on the same level. The two first are far greater than the last. They both belong to the world of creative force, Leonard with more subtlety and quiet, deep vision and purity, Michel Ange with more force and power especially in his sculptures which are incomparably magnificent. Raphael is more mental and superficial. Blessings ...
... null, Dead perfection, no more. 65 Andrea del Sarto, in Robert Browning's poem, concedes that although he may be a faultless painter himself, it is Raphael "pouring his soul" that is the real master; when Raphael paints "its soul is right". If one fights shy of the word 'soul', one might say with J.L. Lowes that words in poetry have more connotation, that they are charged with ...
... summits, as one clung to the Italian Renaissance or the priests of Thebes or Mr Karl Marx. It becomes very comfortable in the end, one can even be a bureaucrat or rather a “paintocrat” of Raphael and carry on with Raphael or Karl Marx for three hundred years — or with little Ashrams forever. Then there are those who seize the small uneasy vibration, that “something” within which keeps breaking through ...
... you seriously want me to swallow this mountainous absurdity that any man can be made a Krishna or a Sri Aurobindo, any woman a Mother, any X a Tyagaraj, any Y a Tansen, any Z a Shakespeare, any A a Raphael, any B a Vyasa or a Valmiki? ... I have never said any or all of these things. These egoistic terms Page 280 are not those in which I think any more than these egoistic ambitions are ...
... to my taste). They began to depreciate Rembrandt─Rembrandt was a dauber, Titian was a dauber, all the great painters of the Italian Renaissance were daubers. You were not to pronounce the name of Raphael, it was a shame. And all the great period of the Italian Renaissance was "not worth very much"; even the works of Leonardo da Vinci; "You know, you must take them and leave them." Then they went a ...
... prodigious Godhead that was the unborn child lying with all its light and fire in Mary's quickened earth-womb. The representation of the theme by Crashaw has been compared to the chaste and lucid art of Raphael, that by Hopkins to the impassioned and complex art of Michelangelo. For our purposes the distinction would lie not only as between the chastely lucid and the passionately complex: it would lie also ...
... could not be seen and touched. Naturally, devils and angels were not very popular with the typical Renaissance thinkers. But the artists carried on the religious tradition and we have angels still in Raphael and Michelangelo though Michelangelo gave them a statuesque and sculptured quality and his God himself seems to be a very muscular man instead of a God: even his beard seems to be full of muscles the ...
... Milton and a near predecessor of Blake, has a poem, That Night, addressed to Jesus and 16.XII: 3-4. 17. The Little Flowers of St. Francis, translated from the original Latin and Italian by Raphael Brown (Image Books, New York), 1958, p. 208. The same incident is reported also by St. Bonaventure. See pp. 730 and 821 of St. Francis of Assisi: Writings and Early Biographies - English Omnibus ...
... Ahania, The , 1 16, 166, 198 Book of Job, Illustrations of the , 236 Book of Los, The, 218, 233 Book of Thel, The , 231 Bowra, C . M . , 137, 139, 140, 141, 155, 156, 162, 167 Brown, Raphael , 48 fn. 17 "burning bright" , 4-1 1 , 34, 35 Butts, 141, 231 , 235 Buxton, J . H . , i Canteenwalla, Dr. Ferdauz N . , vii Cat Jeffery, 42 Cave of the Nymphs , 134 chain, 36 ...
... and Other Discourses (Everyman's Library, London). Translation by William Law, first published in 4 Vols., 1764-1781. Bowra, E. M. The Romantic Imagination (Oxford), 1957. Brown, Raphael (Translator) The Little Flowers of St. Francis by Brother Matthew (Image Books, New York), 1958. Damon, Foster S. "Blake and Milton" in The Divine Vision, Studies in the Poetry and ...
... second, an infant daughter, had died in 1499), and he had just bought a house. Such events were often the occasion for a familial portrait. ‘La Gioconda probably dates from this time because Raphael copied and imitated it between 1504 and 1506, and the dates are consistent with Leonardo’s other activities in Florence. Although no one knows exactly why Leonardo received the commission, Vasari claims ...
... for the same patient, (laughter) In those days we had only one doctor and he always diagnosed a spiritual illness, though, I suppose, he did not have a cure for it. In that period, I was a sort of Raphael and Rembrandt and Whistler rolled into one, because there were no real artists about, and the Mother somehow picked me out for drawing-jobs. I am not quite sure how she came to the conclusion that ...
... colour, shape, or size Assume, as likes them best, condense or rare. 27 Finally, we come to know of the wonderful relationship among themselves, that the Spirits are capable of. Adam asks Raphael: Page 183 Love not the Heavenly Spirits, and how their love Express they - by looks only, or do they mix Irradiance, virtual or immediate touch? 28 Milton continues: ...
... swallow this mountainous absurdity that any man can be made a Krishna or a Sri Aurobindo, any woman a Mother, any Venkataraman a Tyagaraj, any Harin a Tansen, any Manodhar a Shakespeare, any Sita91 a Raphael, any Radhananda 92 a Vyas or Valmiki. You really want me to swallow this [even?] if I suffocate? If you do I will try to but then you mustn't blame me if I do suffocate in the end. Agreed? For your ...
... renown rests while she was still a young girl, we recognize that while our race continues she will be also the Riddle of the Ages. When we set about accounting for a Napoleon or a Shakespeare or a Raphael or a Wagner or an Edison or other extraordinary person, we understand that the measure of his talent will not explain the whole result, nor even the largest part of it; no, it is the atmosphere in ...
... which have been the supreme endeavour of her greatest spirits, are not sane, not virile. This, one may be allowed to say, is a very Occidental and up-to-date idea of spirituality. Homer, Shakespeare, Raphael, Spinoza, Kant, Charlemagne, Abraham Lincoln, Lenin, Mussolini, these, shall we suggest, are to figure henceforth not only as great poets and artists or heroes of thought and action, but as our typical ...
... found its especial embodiment in Horace and Racine and our Kalidasa. Michael Angelo in his fury of inspirations seems to have been impelled by Mahakali, while Mahalakshmi sheds her genial favour upon Raphael and Titian; and the meticulous care and the detailed surety in a Tintoretto makes us think of Mahasaraswati's grace. Mahasaraswati too seems to have especially favoured Leonardo da Vinci, although ...
... Birth of Sin, only a scene (Prologue) from Act I has survived and is now included in Volume 7 of the Centenary Library Edition. In the Dramatis Personae figure Lucifer, Sirioth, Gabriel, Michael, Raphael, Belial, Baal, Moloch, Ashtorath, Meroth, Sun and the Elohim, but the dramatic fragment itself opens with a dialogue between Lucifer and Sun - Lucifer compelling obedience on the part of Sun - followed ...
... favourite style is evidence of a debauched eye and a perverted taste. Yet even in this alien sphere a Bengali has been winning noble renown, and that too in Italy, the native land of painting, the land of Raphael, Da Vinci and Angelo, and among Italians, with whom artistic taste is an instinct. In religion too, the Bengali has the future in his hands. He was the first to revolt against the shortcomings of Hinduism ...
... The Birth of Sin A Drama Persons of Drama LUCIFER - the Angel of Power. SIRIOTH - the Angel of Love. GABRIEL - the Angel of Obedience. MICHAEL - the Angel of War. RAPHAEL - the Angel of Sweetness. THE ELOHIM. BELIAL - the Angel of Reason. BAAL - the Angel of Worldly Wisdom. MOLOCH - the Angel of Wrath. SUN. ASHTAR - the Angel of Beauty. MEROTH - ...
... which have been the supreme endeavour of her greatest spirits, are not sane, not virile. This, one may be allowed to say, is a very occidental and up to date idea of spirituality. Homer, Shakespeare, Raphael, Spinoza, Kant, Charlemagne, Abraham Lincoln, Lenin, Mussolini, these, shall we suggest, are to figure henceforth not only as great poets and artists or heroes of thought and action, but as our typical ...
... to come. 13 Savitri, P.109. Page 243 are sometimes given bold embodiment in form and, though undoubtedly, supreme geniuses like Leonardo da Vinci, Michaelangelo and Raphael from this period have left some of the most outstanding specimens of art in human history, a scrupulous naturalistic illusionism based on one-point perspective and the play of external light and ...
... question. The movement called “Renaissance” was much more complex than commonly realized. Nowadays it is superficially associated with the art of geniuses like Leonardo da Vinci, Michelangelo and Raphael, and with humanist scholars like Erasmus of Rotterdam. The art of the Renaissance was of course a most important aspect of the new way of looking at the world. A certain form of art always crowns a ...
... diamonds, laces and satin gowns. My eyes could not escape the enchanting pictures by Rembrandt, Carlo Crivelli, Paul Cezanne, William Hogarth, Titian, Correggio, Anthony Van Dyck, Edouard Manet, Raphael, Watteau, Turner, Reynolds, Auguste Renoir and so forth. I was totally enthralled by the grandeur of the Great Masters; I ran out of all adjectives and accurate exclamations of praise and surprise ...
... executed. Socrates refuses to collaborate with the Oligarchs. Leon is arrested and put to death. Page 147 The School of Athens (detail): Plato andAristotle, fresco by Raphael (1483 - 1520), Rome 403 BC — Democracy is restored in a violent overthrow of the Rule of the Thirty. The Amnesty of Eucleides is passed completely revising Athenian law and ...
... widely revered of the Greeks Gods. 2. Plato, ibid, p. 63. . 3. Plato, ibid, p. 73. 4. Plato, ibid, p. 60. Page 62 In The School of Athens by the Italian painter Raphael (1483-1520), one can see Socrates on the right side, reclining on the stairs. The two tall figures at the back are Plato and Aristotle. As expected, his accusers, who would have been satisfied ...
... Socrates' actual teaching method which seems useful and worthy of emulation, irrespective of any metaphysical assumptions. Page 106 Plato and Aristotle, detail of a fresco by Raphael, Rome Page 107 Drawing by Rolf, Auroville Page 108 Meno MENO: I see, Socrates. But what do you mean when you say that we don't learn anything, but that what we ...
... Prussia, 88 Puranas, the, 71 Pythagoras, 150,211,219 QUANTUM MECHANICS, 316 RACINE, 197 Raghus, the, 55 Ramayana, the, 217 Ramdas, 396 Raphael, 176-8 Red Cross, 104 Reichenbach, Hans, 315 -Atom .& Cosmos, 315n Relativity, 141 Renaissance, 21, 52, 130, 145, 149, 152, 163, 206-8, 211, 329 Renan, Emest ...
... perpetuated in stone the eternal concepts of knowledge, compassion, energy, etc. – various glimpses of the infinite – through the images of Bodhisattwa, Avalokiteshwar, Nataraj and other deities. Raphael has succeeded in imparting a divine expression to motherhood in the visage of his Madonna, but that too is not Oriental Art. The image of the Madonna represents an ideal mother, and not motherhood ...
... Prudhomme, Sully, 320 Puranas , the, 46 Pyramid, the, 200 Pythagoras, 180 RACINE, 210 Raghus, the, 214 Rakshasas, 46 Rama, 58 Ramakrishna, 116, 128, 141, 160, 243, 247,383 Raphael, 210 Ravana, 58 Ravel, 427 Red Sea, 324 Ribhus, the, 208 Rome, 199,421 Rudra, 160, 163, 208 Russell, Bertrand, 56 Russo-Japanese War, 213 SAHARA,324 St. Augustine, 73 ...
... found its especial embodiment in Horace and Racine and our Kalidasa. Michael Angelo in his fury of inspiration seems to have been impelled by Mahakali, while Mahalakshmi sheds her genial favour upon Raphael and Titian; and the meticulous care and the detailed surety in a Tintoretto makes us think of Mahasaraswati's grace. Mahasaraswati too seems to have especially favoured Leonardo da Vinci, although ...
... Shivalinga made of solidified mercury, a beautiful and a rare thing. They tell me that none of those things are there any more. In the Nawab of Murshidabad's palace I saw an original painting by Raphael. I believe this too was stolen. (33) I n Berhampore we started a club in our courtyard. A few young ones like us started doing physical exercises there. From the courtyard we ...
... the picture as I know it". We don't expect the onlooker to know the picture as the artist knows it in his travail and wrestle with material and technique—if he has any. We do not require to know how Raphael created his pictures to know what he went through in doing his paintings. The onlooker is not interested in how the picture came to you. Why should he be interested in that? He may be, and is interested ...
... which was an earthenware Chinese figure, the Virgin of Sorrows in carved and painted wood, the Angel of the Annunciation and quite a number of other paintings by the Great Masters and their students. Raphael's cartoons were engaging. The oil painting of J.M.W. Turner depicting Venice was very attractive. My memory winged back to my trip to Venice in 1952. A gondola glided down the Grand Canal, a broad ribbon ...
... of heavy impenetrable green a slender tapering tower rises into the peaceful quiet of Delhi. On another page of the same review we have a picture by one of the greatest Masters of European Art, Raphael's "Vision of the Knight". The picture is full of that which Greece and Italy perfected as the aim of Art, beauty and such soul-expression as heightens physical beauty. It is beauty that is expressed ...
... the motivation behind the work of art and to establish rapport with it. Is one to look in sculpture only for anatomy, or an exact reproduction of a fact of natural science? Realism, naturalism, pre-Raphaelism, impressionism cubism, surrealism, in their several ways all are valid enough renderings of Reality. Indian sculpture and painting - at least the best of it - has had its origins in the depths of ...
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