Raphael's technique - English
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- Опубліковано 6 чер 2024
- How #Raphael created a painting.
Italian oil painting at the beginning of the 1500s: Raphael’s technique. artenet.it/en/raffaello/
00:00 ♦ Introduction
02:46 ♦ Preparatory drawings
05:01 ♦ Support and preparation
06:16 ♦ Underdrawing
08:45 ♦ Lead white imprimitura
09:54 ♦ Colour films
11:54 ♦ A corpo painting
14:33 ♦ Skin tones
18:42 ♦ Glazings
References:
Opere consultate:
Annamaria Petrioli Tofani, Raffaello a Firenze. Dipinti e disegni delle collezioni fiorentine, Electa 1984, pp.271-277;
Sylvia Ferino Pagden, Raffaello a Firenze. Dipinti e disegni delle collezioni fiorentine, Electa 1984, pp.278-369;
AA.VV. Raffaello a Pitti. ‘La Madonna del baldacchino’ storia e restauro, a cura di M. Chiarini, M. Ciatti, S. Padovani, Catalogo della mostra (Firenze, 1991), Firenze, Centro Di 1991;
B. Armenini, De’ veri precetti della pittura Libri tre, ne’quali con bell’ordine d’utili, e buoni avertimenti, per chi desidera in essa farsi con prestezza eccellente, si dimostrano i modi principali del disegnare e del dipingere e di fare le pitture, Ravenna, 1586; ed. cons. a cura di M. Gorreri, Torino, Einaudi 1988;
Lodovico Dolce, Dialogo nel quale si ragiona della qualità, diversità e proprietà dei colori; 1565 Venezia;
Silvia Bordini, Materia e immagine, Roma, Leonardo-De Luca Ed. 1991
Simona Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX), Roma 2011
F. Negri Arnoldi, Il mestiere dell’arte. Introduzione alla storia delle tecniche artistiche, Napoli, Paparo Edizioni, 2001;
ARTIS, Art and Restauration Techniques Interactive Studio, Cd Rom, Direzione scientifica M. Faldi e C. Paolini, Firenze, Istituto per l’Arte e il Restauro 2000
Claudio Paolini, Manfredi Faldi, Glossario delle tecniche artistiche e del restauro, Edizioni Palazzo Spinelli 2005;
Jill Dunkerton and Nicholas Penny Jill Dunkerton and Nicholas Penny, The Infra-red Examination of Raphael's 'Garvagh Madonna', Technical Bulletin Volume 14, 1993;
Ashok Roy, Marika Spring and Carol Plazzotta, Raphael's Early Work in the National Gallery: Paintings before Rome, Technical Bulletin Volume 25, 2004;
Allan Braham and Martin Wyld, Raphael's 'S. John the Baptist Preaching', Bollettino tecnico della National Gallery Vol 8, Technical Bulletin Vol. 8, 1984, pagg. 15-23. www.nationalgallery.org.uk/tec... 1984;
Marika Spring, Raphael’s Materials: Some New Discoveries and their Context within Early Sixteenth-Century Painting; Scientific Department of The National Gallery, London;
Beatrice De Ruggieri, Il San Luca che dipinge la Vergine: veti e compatibilità con la tecnica di Raffaello e della sua bottega;
MARIA LETIZIA AMADORI, GIANLUCA POLDI, La tecnica pittorica di Giovanni Santi;
M. Ciatti, C. Frosinini, A.Natali, P. Riitano (a cura di), Raffaello: la rivelazione del colore. Il restauro della Madonna del Cardellino della Galleria degli Uffizi, Firenze, 2008;
P. Riitano, C. Seccaroni, Attorno all’imprimitura, in Raffaello, la rivelazione del colore. Il restauro della Madonna del Cardellino, a cura di M. Ciatti, C. Frosinini, A. Natali, P. Riitano, Firenze 2008, pp. 95-103;
Bellucci e Cecilia Frosinini, Un caso complesso di pianificazione dell’immagine in Raffaello: il triplice ritratto di Leone X, Giulio de’ Medici e Luigi de’ Rossi - 2020;
Roberto Bellucci, Cecilia Frosinini, Raffaello: una tipologia specifica di underdrawing per i ritratti. Il caso de La Muta di Urbino in Raffaello, La Muta, Indagini e restauro, a cura di Marco Ciatti e Maria Rosaria Valazzi, Edifir, Firenze 2015;
Beatrice De Ruggieri, Il San Luca che dipinge la Vergine: veti e compatibilità con la tecnica di Raffaello e della sua bottega;
Roberto Bellucci, Cecilia Frosinini, Il restauro della Madonna dell’Impannata di Raffaello, delle Gallerie degli Uffizi, Galleria Palatina di Palazzo Pitti - 2017;
Marco Ciatti; Raffaello: la rivelazione del colore. Il restauro della Madonna del Cardellino della Galleria degli Uffizi. EDIFIR, 2008;
Bertelli, A. Gallone, M. Milazzo, M. Olivari, Il disegno nascosto dello Sposalizio, in Raffaello giovane e Città di Castello, Catalogo della mostra (Città di Castello, 1983-1984), Città di Castello, 1983, pp. 95-118;
Chiarini, La Madonna del Granduca: deduzioni tecniche e stilistiche dopo le recenti indagini scientifiche, in Raffaello: Recenti Indagini Scientifiche, a cura di O. Curti, A. Gallone Galassi, Atti del simposio (Milano, 1986), Milano, ICOM - Comitato Nazionale Italiano 1986, pp. 21-29;
Marzia Faietti, Achim Gnann (a cura di), Raffaello disegnatore-Raffael als Zeichner, di Giunti 2019;
Raphael Project; cima.ng-london.org.uk/documen...
Studying Raphael - Research - The National Gallery, London.
Unbelievable that this sort of video is here for free, for anyone to enjoy and learn
"Look at me, erm a Raphael now!!!"
@@Skibbityboo0580You mean _"Look at me, I'm a 15 year old dying for attention!"_
I would love to see more videos on techniques of different famous painters!!
This demonstration, does exactly what I thought, showing a master in his work.
I could watch stuff like this all day. Love to paint but am no Raphael yet
really interesting. very informative. Excellent presentation - and NO STUPID MUSIC, thank God.
Thank you for sharing this English version! It is greatly appreciated!
Total immersion in an artist's heart, mind and craft is like nothing else on this earth. Thank God for the genius!
Thanks for this--love it!
Just what i needed. Thankyou.
Very great ! Thank you !
That was amazing.
Thank you so much for sharing very informative video. I don't believe that i watch this for free
Thank you so much, this is such a cool video! I can't wait to integrate some of the aspects of this technique in my own painting :)
Grazie Anna, this makes me very happy.
I'd like to post a video here with about twenty paintings made by different artists following Raphael's techniques. If the idea sounds nice to you, you can send me a photograph of your finished work together with permission to publish it. The email is visible in the ARTEnet channel information.
Thanks for the nice comment.
What an amazing video !!!
Pure gold these videos are
Fascinating and inspiring
Thanks for this great video
My goodness what a great video. TY.
this channel is a gem!
Thank you so much, this is amazing-
Beautiful video, excellent explanation
This is stupendous! Terrific presentation. Thank you!
Great video. Thanks for sharing.
wow. thank you so much. This is just the video I was looking for.
Great video, so informative. Great narration. Thank you
Many thanks for this outstanding video
I absolutely LOVE your channel. Your videos make me very grateful. Thanks so much!
Thank you for sharing these fantastic videos.
The best video I have found about this subject, thank you so much! 🌼🙂
quite inresting informative video! thanks for this work
Excellent video! Very educational and interesting! Thank you
Wow totally worth it !!
A very informative and a present for learners of old masters work.
Wow so many steps. It must have truly been a labor of love. Thank you for this video!
ARTEnet is absolutely fabulous! Incredibile fantastico!!! Ho imparato moltissimi!!!.
Remarkable information about a remarkable artist….thank you!!
The artist's rendering is soo good!!++👌💕 bravo!!!
Un bellissimo video. complimenti.
Oh, I watched the Italian version with subtitle first and then noticed this English version! Thank you for sharing!
Thank you so much! Very interesting video!
Fantastic journey into the minds and painting techniques of artists before colors of paints, canvases, etc. could be easily obtained at an art store.
I really enjoy, thanks
Thank you so much!!!
superbe vidéo, merci
Больше спасибо автору за прекрасные видео 🤝
❤ Years ago, I viewed a much simpler physical study of this topic at Philbrook Museum, Tulsa OK. I have been looking for it, or another version of the same, ever since. Thank you.
I have learned more from raiders of the Lost art than I would have if I would if went to college
"Raiders of the Lost art" I really like this definition maybe it's perfect as the title of a new video that explains what we do. Thanks for the comment
Fantastic! Very informative video and so well done. Thanks for doing it in English also. I had viewed it in Italian before and was hoping for an English translation.
Thanks, that was useful. Never heard of glas powder before.😊
interesting way of layering colors
Awsome thaks for sharing
Thank you sir
this is great
Excellent video. Stay blessed.
Unbelievable it looks so real and nice tricks 😮😮😮💯💯💯
I would like to see Leonardo da Vinci technics as well Tizian
Me2 ! I love the GENIAL ONE ❤️❤️❤️❤️❤️❤️❤️😍😍😍😍😍😍
Que técnica maravilhosa, eu teria que nascer muitas vezes para aprender!!!É um dom especial, lógico que é necessário estudar muito e se dedicar, mas sem talento, só se consegue o sofrível!!!
thank you
Fabulous video !!!Thank you...
I would love to see the same for William Adolphe Bougeureau.
nice riff at the begining !
Magnificent video! The best I've ever seen that totally explains in precise detail the exact methods and techniques used ! It seems so understandable and logical and DO-able now! Thank you so much! Please do and entire series on EVERy famous artist's techniques! I'm definitely a new solid fan (and sub!) of this great channel!!!
Thanks for the great comment @Kimberly Patton, much appreciated "new solid fan", I would very much like to be able to satisfy your request even if the whole series on the techniques of every famous artist is perhaps a little too ambitious project.
For some reason I love the neatness that I feel from the lines of drawings, something I don't from paintings.
Sebastiano del Piombo was also quite critical of these paintings
Lines are the life of a painting
The video is excellent as a didactic, but I'm afraid to say that the painting is very far from being similar to Raphael's. Another point to observe, from the artist's point of view, he doesn't have his work trajectory so well planned (he doesn't even know how it will end), much of what is outlined is abandoned. But the video is very instructive, with an objection to glass powder, I believe there were other alternatives used
Wow
wow
It's a very interesting video.
Very interesting scenes for me are the impprimitura with lead white applied over the underdrawing and the scene of adding glass powder to a transparent paint layer. Is it the method commonly used by painters of the time? Or is it Raphael's unique method?
How did you get that information? Is it restoration data by the museum? Or is it a published treatise? If you don't mind, please let me know the sources of those sources. thank you.
glass power is nothing more than silica powder sold in resin stores, but it is not as transparent as it is said!
OMG, some of your works are famous paintings that I used to know. How can you draw pictures like this. Your contribution to the arts is awe-inspiring, I'm so glad and happy to see what you're doing. I have been following you, hope you have beautiful pictures in the next video.
How? Art school...
I love your videos of the Masters' techniques. Could you do Titian? He's one my fave of all time.
Thanks for the encouragement, I'm currently studying Leonardo's technique and maybe a video will come out. Tiziano has a very interesting technique (you can find some indications at the following link: artenet.it/en/tiziano-technique/)
but for the moment there is no plan to make a video about him.
Thanks so much for the link! Really helps my research.
👏👏👏👏👏👏
♥️
Итальянские художники самые великие!
К сожалению, Рафаэль Санцио так не рисовал.
Imprimitura is the preparation of the support, be it in gesso and glue or oil and a pigment. What you're referring to is a campitura.
PREPARAZIONE, PREPARATION, SIZING: Layer or several initial layers of material applied to the support in order to obtain a proper surface to receive painting pigments. If the ground consists of several layers, the final layer is commonly known as the imprimatura or priming (v.), in modern literature.
IMPRIMITURA, IMPRIMATURA, PRIMING: In modern literature, it refers to the final layer and finishing of a ground, which consists of a fine thickness and a smooth and uniform surface, in order to facilitate the application of the brush-work. According to its characteristics, a transparent or opaque colouring is given as a base to the pictorial layers.
Thanks for the question!
@@ARTEnet1 Imprimitura (imprimatura doesn't exist as a word, like terre verte and other english mistranslations of italian words) is priming, as you correctly said, but priming/imprimitura is not campitura (which you could probably translate as an initial toning).
Unfortunately Mayer got it wrong from the italian and presented 'ImprimAtura' (sic!) as a 'campitura' (but curiously enough when he's talking about priming he's correct).
Since his book is very famous the error spread.
Priming or imprimitura is that phase right after the sizing of the support and it requires a primer (be it oil and pigment for a canvas, glue and gesso for or an acrylic primer). That's the imprimitura operation and it stops there, right when you stop using the primer. What comes after has different names.
Greetings
awesome, question.. what is burnt lake? is that deep madder? thanks
Scientific tests carried out on Raphael's Madonna del Baldacchino in 1991 revealed the presence of this pigment (Mauro Matteini, Arcangelo Moles, Giancarlo Lanterna, Maria Rosa Nepoti, Indagini scientifiche sui materiali e sulla tecnica pittorica, in Raffaello a Pitti. ‘La Madonna del baldacchino’ storia e restauro, pp. 79-82).
It was not possible for me to find it nor to find information about it, so I used the Talens deep madder lake, imagining that it could be the most similar pigment to it.
Thanks for the appreciation and the question.
👋👋👋
its a strange contrast how many steps and details go into everything but the eyes
If the video gives this impression it is only due to the choice of the clips in the montage. Thanks for the comment
@@ARTEnet1 oh, apologies for my inaccurate conclusion
@@gordo6908 Nothing to apologize for, certainly a few more images of the eyes wouldn't have been bad 🙂. Ciao
Is diluted black pigment like india ink? Or drawing ink? Is it diluted with water?
The ink used for underdrawing is iron gall ink, a natural ink, widely used in the Renaissance, obtained with gall nuts and diluted with water. Thanks for the question.
Can you please make watercolor artist techniques too? I would love to learn..thank you
Thank you for the esteem you show with this request, but as a former restorer of paintings on canvas and wood, my skills are limited to this sector.
@@ARTEnet1 oh! Nevermind really.. keep making what you're good at! :) Thank you so much
Those brushes! Where did they come from?
These are the brushes used in the past: squirrel (vaio) and bristle.
In Florence you can find them in fine art shops such as Rigacci or Zecchi
www.rigaccifirenze.it/
zecchi.it/
Why aren’t there more investigative videos on technique, preparation, materials and execution? Unlike this awesome informative video other videos that seem to me to be mostly Hype to cause an increase of interest that directly impact value of a piece or increase museum visitation.
Perhaps because the subject requires a multidisciplinary preparation and today the trend is in hyperspecialization within a single sector.
Where can I buy fat-based binders ?
If there are no fine art supplies shops near you, you can order online on the website of a good shop here in Florence: zecchi.it/
Good work!
What color was burnt lake? I can’t seem to find any examples.
This is a good question because I don't have the answer. I tried to look for this pigment but to date without success. During the restoration of the Madonna del baldacchino by Raphael, carried out by the state laboratories of Florence in 1991, some samples of the pictorial layers were made and the tests indicate the use of this pigment. The brownish madder lacque is the pigment that in my opinion comes closest to the color indicated by the investigations.
@@ARTEnet1 Thank you. I wonder if it was some some variant of red oxide.
would glaze be the varnish?
The glaze is made with color and resins. The varnish is usually transparent and is composed only of resins in a diluent
Dali tech.please
Corpo layers would be the pure paint?
Non so se ho capito la domanda, se chiedi se gli strati di pittura sono mescolanze, sappiamo dagli esami stratigrafici che, prevalentemente, i pittori del tempo usavano stesure di colore puro
絵を描くことが好きなのですが、ラファエルのように描くことができたら、ら私の人生豊かになりますが、まだ練習も足りません。顔料のことも解りませんし...
What is glass powder?
pulverized glass
glass power is nothing more than silica powder sold in resin stores, but it is not as transparent as it is said!
Please, The Rafael technic in spanish traducción, thanks.
Tomorrow morning we record the audio for the video in Spanish. 😃
@@ARTEnet1 thanks, I love its content through which we painters and admirers can get closer to the techniques of the old masters of painting. We hope that you will continue to share this content with us, which is perfect and very valuable.
@@jeansanfrancisco7022 Grazie Jean, lo spero anch'io
First-rate.
12:35 poggers
Solo hablo y entiendo español, no te metas en mis búsquedas
Man really said photobashing before photobashing.
Dommage que ce soit en anglais, j'ai horreur de l'anglais!
Voici les liens des versions en italien et en espagnol pour ceux qui "ont horreur" de l'anglais:
ua-cam.com/video/fIk0qss0jgw/v-deo.html - Italiano
ua-cam.com/video/9bXR5Yv-IQ0/v-deo.html - Spagnolo
@@ARTEnet1 l'Italiano e bello !;)
Incredibly beautiful, unsurpassed. Contemporary arts are garbage and extremely ugly.
Ничего общего.полный провал и это неудивительно
@rubenmartinezbadia3799 sorry but I accidentally deleted your comment after replying. Can you please write the question again? (does he apply the lead white completely raw etc.). Thank you
Damn that intro 🔥🔥🔥🔥