One of the most remarkable works on the subject of the Transfiguration of the Lord is an altar composition Raphael "Transfiguration". The gospel text prompted the artist that it was necessary to depict two events at the same time: the accomplished Transfiguration of Christ and the arrival of the sick boy to the apostles, who remained at the foot of Mount Tabor. Combine two plots in one work at once? Isn't it a bold decision? And yet Rafael took up his embodiment. In the lower part of the picture, he depicted a sick boy, whose face was distorted by a terrible spasm. Next to him are his father and mother, desperate and not believing in the miracle of healing, their faces are filled with aching grief and a silent plea for salvation. The faces of the apostles express deep compassion. But how can they help unfortunate people? They themselves are powerless to create a miracle. Some of them look up to the sky. material from the site
In the upper part of the picture we see the figure of Christ in flowing robes with arms raised up. He soars in the clouds illuminated by his radiance. On both sides of Jesus are two elders, also floating in the air. These are the prophets Moses and Elijah. Here, on the top of the mountain, are the three apostles who went to Tabor together with Christ. Surprised by the miraculous vision, they covered their eyes with their hands: so dazzling and bright is this light emanating from Christ and his unusually white clothes. In this sea of light, the radiant face of Christ is especially expressive. (Later, researchers will find in him a portrait resemblance to Raphael himself.) But what is surprising: as the distance from the earth, which is depicted in dark, gloomy colors, the figure of Christ does not lose physicality, but, on the contrary, acquires something elusive , giving it unearthly beauty and greatness.
Unfortunately, Rafael was not destined to complete this picture. Only its upper part is completely executed by the Grand Master. An unfinished canvas will be installed at the head of the deceased artist, and all of Rome, saying goodbye to their favorite, will look in admiration at the miracle that happened here on earth, and not in heaven. Two years later, Raphael's students will carry out the artist's plan.
On this page, material on the topics:
Raphael transformation description of the picture
Raphael's painting transformation full version
Raphael's painting "transfiguration
Painting by Raphael with the ascension of Christ
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Raphael Santi Transfiguration Christ's, 1519-1520. Pinacoteca Vatican, Rome.
Initially, the picture was created as an altarpiece cathedral in Narbonne, by order of Cardinal Giulio Medici, Bishop of Narbonne. To the greatest extent, the contradictions of the last years of Raphael's work were reflected in the huge altar composition "The Transfiguration of Christ" - it was completed after the death of Raphael by Giulio Romano.
Having started working on the painting, the artist painted in parallel the canvas personally for the cardinal. For his painting, the artist used the well-known biblical story described in the gospels, which tells that Christ decided to show his disciples his true appearance. As they say in Scripture, Jesus took with him the three apostles Peter, James and Jeakim, and led them to high mountain, where he was transformed before them, appearing in a bright image, surrounded by a divine halo. After that, the voice of God was heard, which confirmed to the apostles that Jesus was his true and only son.
Having descended from the mountain, the apostles and Jesus meet a crowd of people who accompany the father and his son, who is possessed by the devil, to turn to Christ with a request for his cure.
And here begins the plot of Raphael's painting, which tells about this moment.
In the foreground are the apostles, who are reclining in various positions in anticipation of the descent of Christ. Jesus himself hovers in the circle of light above the rest of the people, he is weightless and beautiful. People stretch out their hands to him, and the old man and the boy froze in anticipation of healing. The artist also depicted a kneeling woman who, along with everyone else, is waiting for a miracle. All these people point to Christ, their faces are full of quivering excitement. He comes and heals the child, driving away the evil spirit.This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was made by Raphael himself. Below are the apostles trying to heal a demon-possessed boy - there is a lot of artificial pathos here, an unpleasant blackness has appeared in the painting. It is symptomatic that it was Rafael Santi's altar painting "The Transfiguration of Christ" that became for centuries an indisputable model for painters of the academic direction.
The history of the painting.
In 1797, Napoleon moved the Transfiguration to France, and the painting returned to the Vatican only after the overthrow of the emperor in 1815. As a result of transportation, it was badly damaged, and the first restoration only worsened its condition. The next restoration, carried out already in the seventies of the XX century, brought the picture as close as possible to the one it had four centuries ago.
Traditionally, artists depicted Christ standing on a mountain (more often just on a hill) between Moses and Elijah, while the apostles reclined at His feet, covering their eyes from bright light. Raphael chooses a different compositional move for his painting.
On it, the Savior is depicted hovering in the air, as during the Ascension. The radiance enveloping his figure - that same "cloud of light" - illuminates the rest of the characters. The lower part of the picture, according to the icon-painting tradition, represents an episode that immediately followed the descent of Christ from the mountain: Raphael depicts the miracle of the healing of a boy with epilepsy.
Fear, confusion, surprise, vanity in this part of the picture contrast with the majestic calm emanating from the figure of Christ. The variety of poses and gestures expresses the different feelings of the characters and emphasizes the individuality of each of them. The expressiveness of the figures is emphasized by the light falling from the left. Perhaps this is a technique not previously found in his painting, Raphael invented while working on theatrical scenery. Later, this special way of lighting from Raphael will be borrowed by Caravaggio (1573-1610).
A VERY INTERESTING STORY ABOUT THE COMBINATION OF TWO PAINTINGS BY RAPHAEL. (Version from int.)
Painting by Raphael Care.
Before you are two almost identical paintings, the author of which is the great italian artist Raphael Sanzio/Santi... It seems that someone deliberately "moved" the second picture down to cut off the top with a "dangerous" object - a superbly depicted "flying saucer"... Which in reality was absolute true.
Rafael was very an unusual person, often going against holy church. As the famous Vassari called him in his writings, he was “an atheist with a rich imagination” ... The first picture (on the left) was painted in Last year life of the artist (1520) and was called "Departure".
Having caused a real storm of indignation on the part of the most holy church, the magnificent work was sentenced to destruction. Then, deciding to play a harmless joke on the Pope, the artist painted a second picture, as if moving the entire composition down, and cutting off the upper (main) part of the picture, which depicted Christ, which was not allowed in any way according to the strict canons of painting of that time.
He called the second painting "Transfiguration"... Unfortunately, the artist died without finishing the second painting - it was completed by his best students and (at the request of the teacher) presented to the Vatican. The Pope was delighted with the work and called it "one of the best" paintings by Raphael...
You can see both versions of the picture here.http://maxpark.com/community/6782/content/5165598
(Further, you can argue, but not a single picture depicting a UFO has such detail, all UFOs are drawn rather primitively, because as now and before they were not particularly shown to people).
Biblical sources and legends contain numerous information about the appearance on our planet of gods, prophets, "sons of God", who had a significant impact on cultural development And religious outlook many peoples. As for the famous Dead Sea Scrolls (so secret that only a few scientists have been granted the right to see them). Professor Felix Bonjean and five other scientists who studied the Dead Sea Scrolls under the supervision of the Vatican were under an obligation never to divulge information obtained from ancient texts, but Bonjean was the first to break the silence. At a press conference in Paris, he said: After many years of hesitation, I came to the conclusion that it is impossible to hide the truth from people. Tablets from the shores of the Dead Sea are not only a version of the Old Testament. They contain such historical predictions that can shake the world. After all, they contain information that: 25 thousand years ago, a flotilla arrived on earth spaceships. They were disc-shaped and, judging by the lists, they created an anti-gravity field around them. Earth's gravity had no effect on them.
IN Qumran scrolls there is some interesting information:
Moses was not a Jew, an Egyptian, or even a human being. He arrived on Earth as a messenger of higher beings from another planet...
It is probably no coincidence that he was often depicted with clearly visible "horns" on his head. It is noteworthy that in the ancient Greek composition "Sophia" there is such information about angels:
The angels [aliens] have ledges where the sacred cloud rests.
a small amount of information regarding UFOs and aliens at this time is explained by the dominance of the Inquisition: a witness to any mysterious phenomenon could be accused of intercourse with the devil, and the narrator was inevitably waiting for a fire. This can be confirmed by the fate of the Italian Giordano Bruno, who preached the idea of a multitude of inhabited worlds in the Universe and expressed rather seditious thoughts for that time:
Thus, I declared that there are infinite separate worlds, like the Earth, which, like Pythagoras, I regard as a star, similar in nature to the Moon, other stars and other planets, which have no end, and that all these bodies are infinite worlds, thus forming invisible infinity in infinite space, and this is called the infinite universe, worlds that have no number.
Only for these statements on February 7, 1600, he was burned at the stake of the Inquisition.
Information about extraordinary phenomena and incidents of the 7th-8th centuries was collected by the English monk Beda the Venerable. In his book " church history» are given Interesting Facts reminiscent of UFO flights.
The Laurissen Annals contains information about UFOs.
UFOs are described in the ancient Japanese chronicle "Nihongi"
One of the most detailed descriptions mysterious objects resembling UFOs can be found in the book "Visions" by the abbess Hildegard of Bingen.
There is a description of unusual objects in the "History of England", which was written by Mathieu of Paris.
This list is endless.
So it is not surprising that UFOs were seen a lot at that time and the pictures written about them are beyond doubt.Rafael. Transfiguration. 1516-1520. Wood, tempera. 405 ; 278 cm
Vatican Pinakothek, VaticanTransfiguration "(1518-1520) was ordered to Raphael in 1517 by Giulio Medici for the cathedral in Narbonne. Raphael began to write it no earlier than July 1518 and did not have time to finish. The lower part of the picture was completed by students and assistants - mainly Giulio Romano, who received payment for it in 1522.
Vasari described this picture as follows.
“In this story, he depicted Christ transfigured on Mount Tabor, at the foot of which eleven disciples are waiting for him. They brought the possessed lad there so that, descending from the mountain, Christ would free him. rolls his eyes, we see all the anguish deep in his flesh, in his veins and in his blood, infected evil spirit, and the deathly pallor of this body with its labored and frightened movements.This figure is supported by an old man who was not afraid to embrace her and, opening his eyes wide with glare in their pupils, raised his eyebrows high and wrinkled his forehead, thereby expressing both the strength of his spirit and the fear that seized him, and judging by the intent look he turned on apostles, it seems that he, in the hope of them, encourages himself.
There is one woman among many others, who, being the main figure in this picture, kneels in front of all the others and, turning her head towards them, stretches out her hands to the demoniac, as if indicating his suffering. The apostles, some standing, some sitting, and some bending their knees, show the greatest sympathy for his misfortune.
Indeed, Raphael painted figures and heads in this thing, which, apart from their exceptional beauty, are so unusual, diverse and beautiful that, according to the unanimous opinion of artists, this is the most famous, most beautiful and most divine work of all he has ever created.
So anyone who wants to imagine and depict in painting the divine transfiguration of Christ, let him look at this work, in which Raphael imagined Christ hovering over the top of this mountain and dissolved in transparent air, and on his sides Moses and Elijah, who, illuminated by a dazzling radiance, come to life in the light emanating from it. And on the ground below them are Peter, Jacob and John, lying in various and beautiful positions: some bowed their heads to the ground, and some, shading their eyes with their hands, protect themselves from the rays and exorbitant brilliance surrounding the figure of Christ, who, dressed in snow-white robes, spreading his arms and raising his forehead, as if he represents the consubstantiality and divine nature of all three persons of the Holy Trinity, concentrated in one person by the great perfection of the art of Raphael.
And it seems that the artist so identified himself with his own skill, having discovered in the face of Christ all the daring and all the strength of his art, that, having finished it as the last thing that was bequeathed to him, he therefore no longer touched his brushes when he was comprehended by death".
Rafael Santi (1483-1520) http://www.rafaelsanti.ru/txt/12end.shtml
The edge of creativity
Rafael went to some extreme frontier of his work. Such a united life before in its bright splendor began to delaminate, bifurcate. Calm and sublime art, combining intelligence, fantasy and grace, no longer satisfies him.
TRANSFORMATION can be considered as an artistic testament of an artist whose life was full of excitement, inspiration, searches. It was Rome that Raphael gave all his strength, contributing to the transformation of the city after centuries of desolation and decline into a great center of culture and art. Today, Raphael's last masterpiece is the glory of the Vatican Pinakothek.
Raphael died in Rome on April 6, 1520. All of Rome mourned the thirty-seven-year-old Raphael. Died in full bloom of creative powers outstanding artist, recognized as the head of the Roman art school.
“When his body was exhibited in the hall where he worked, an altar image was placed in his mind, on which he had just completed the Transfiguration for Cardinal dei Medici, and at the sight of a living picture next to dead body each of those present was heartbroken with grief. After the death of Raphael, the cardinal placed this picture on the main altar in the church of San Pietro in Montorio ... "(Vasari).
He was buried in the Roman pantheon. Decorates the grave marble statue Madonnas with the inscription:
"Here lies the Raphael, during whose lifetime great nature afraid to be defeated, and after his death she was afraid to die."
Text With illustrations can be seen here.http://maxpark.com/community/6782/content/5165598
Raphael Santi - Transfiguration of Christ 1519-1520. Pinacoteca Vatican, Rome.
Initially, the picture was created as an altar image of the Cathedral in Narbonne, commissioned by Cardinal Giulio Medici, Bishop of Narbonne. To the greatest extent, the contradictions of the last years of Raphael's work were reflected in the huge altar composition "The Transfiguration of Christ" - it was completed after the death of Raphael by Giulio Romano.
Having started working on the painting, the artist painted in parallel the canvas personally for the cardinal. For his painting, the artist used a well-known biblical story described in the gospels, which tells that Christ decided to show his true appearance to his disciples. As they say in the scripture, Jesus took with him the three apostles Peter, James and Iiakim, and led them to a high mountain, where he was transformed before them, appearing in a bright image, surrounded by a divine halo. After that, the voice of God was heard, which confirmed to the apostles that Jesus was his true and only son.
Having descended from the mountain, the apostles and Jesus meet a crowd of people who accompany the father and his son, who is possessed by the devil, to turn to Christ with a request for his cure.
And here begins the plot of Raphael's painting, which tells about this moment.
In the foreground are the apostles, who are reclining in various positions in anticipation of the descent of Christ. Jesus himself hovers in the circle of light above the rest of the people, he is weightless and beautiful. People stretch out their hands to him, and the old man and the boy froze in anticipation of healing. The artist also depicted a kneeling woman who, along with everyone else, is waiting for a miracle. All these people point to Christ, their faces are full of quivering excitement. He comes and heals the child, driving away the evil spirit.
This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was made by Raphael himself. Below are the apostles trying to heal a demon-possessed boy - there is a lot of artificial pathos here, an unpleasant blackness has appeared in the painting. It is symptomatic that it was Rafael Santi's altar painting "The Transfiguration of Christ" that became for centuries an indisputable model for painters of the academic direction.The history of the painting.
In 1797, Napoleon moved the Transfiguration to France, and the painting returned to the Vatican only after the overthrow of the emperor in 1815. As a result of transportation, it was badly damaged, and the first restoration only worsened its condition. The next restoration, carried out already in the seventies of the XX century, brought the picture as close as possible to the one it had four centuries ago.
Traditionally, artists depicted Christ standing on a mountain (more often just on a hill) between Moses and Elijah, while the apostles reclined at His feet, covering their eyes from bright light. Raphael chooses a different compositional move for his painting.
On it, the Savior is depicted hovering in the air, as during the Ascension. The radiance enveloping his figure - that same "cloud of light" - illuminates the rest of the characters. The lower part of the picture, according to the icon-painting tradition, represents an episode that immediately followed the descent of Christ from the mountain: Raphael depicts the miracle of the healing of a boy with epilepsy.
Fear, confusion, surprise, vanity in this part of the picture contrast with the majestic calm emanating from the figure of Christ. The variety of poses and gestures expresses the different feelings of the characters and emphasizes the individuality of each of them. The expressiveness of the figures is emphasized by the light falling from the left. Perhaps this is a technique not previously found in his painting, Raphael invented while working on theatrical scenery. Later, this special way of lighting from Raphael will be borrowed by Caravaggio (1573-1610).A VERY INTERESTING STORY ABOUT THE COMBINATION OF TWO PAINTINGS BY RAPHAEL. (Version from int.)
Painting by Raphael Care.
Here are two almost identical paintings, the author of which is the great Italian artist Rafael Sancho (Raphael Sanzio/Santi)... One gets the impression that someone deliberately "moved" the second picture down to cut off the top with a "dangerous" object - a superbly depicted "flying saucer" ... Which in reality was the absolute truth.
Raphael was a very unusual person, often going against the holy church. As the famous Vassari called him in his writings, he was "an imaginative atheist"... The first painting (on the left) was painted in the last year of the artist's life (1520) and was called "Departure".
Having caused a real storm of indignation on the part of the most holy church, the magnificent work was sentenced to destruction. Then, deciding to play a harmless joke on the Pope, the artist painted a second picture, as if moving the entire composition down, and cutting off the upper (main) part of the picture, which depicted Christ, which was not allowed in any way according to the strict canons of painting of that time. He called the second painting "Transfiguration" (Transfiguration)... Unfortunately, the artist died without finishing the second picture - it was completed by his best students and (at the request of the teacher) presented to the Vatican. The Pope was delighted with the work and called it "one of the best" paintings by Raphael...
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