Word: raphael
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...Raphael is the representative of classic art. This does not mean that his subjects or even his conceptions were Greek, although some of them were, but that his method was classic. Everything in his work blends with its surroundings. He was a harmonist, a unity of many things. He established no special element in the Renaissance but he put together the best of everything in an inimitable way. His one weakness was in brush work, but this fault was universal in all artists of the period...
...influenced more and more by the superior learning and technical skill of Florence. Piero Fanasca was a representative of this period. By his powerful use of outline in the human figure, for he was more of a draughts man than a painter, he helped in the formation of Raphael's style. Perigino, however, was the real forerunner of Raphael. His subjects are said to have bodies belonging to the Renaissance, but souls of the middle ages. His paintings are known for their grace of pose and the fervor of faith which they express. But even as early as Perigino...
...Florentian school, we find all three of the elements of the painting of this period combined. He was a pupil of Savonarola, and was a charming painter if not a great one. The leader of the new awakening in art in Florence was Mazatio, a man whom Raphael and Michael Angelo did not disdain to follow. Many men of other schools also were drawn to Florence who in time adopted the Florentine School. At this period there were really in Italy, but two great schools, the Florentine and the Venetian. All the others were small branches from these...
This was the high noon of the Renaissance, for it was the time of Raphael, Michael Angelo and Correggio. The first two are of course well known to all; Correggio is not. Though all his faces are too much alike, yet everyting of his is lovely. Besides this, he was one of the half dozen sublime painters of the earth. In all his figures there is a certain puissance, which in a few years had exerted an influence over all Italian painting. The summit had been reached, however, and the decadence of art soon began...
...abroad take foreign landscapes for his subjects, he is still American in his art. Any national art is the sum total of what the natives may assimilate by their talent. So one will remain an American in his art. No one has any style of art entirely to himself. Raphael and Michael Angelo, though giants of their time, were not alone. They borrowed from the great masters before them. If one is only a link in the chain of artists he is doing well. The experience of one school is the inheritance of another, and no great school has refused...