Instruct: Given a question, retrieve passages that can help answer the question.
Query: What is Raphael's most famous architectural work?
Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking.
The most famous original prints to result from the collaboration were Lucretia, the Judgement of Paris and The Massacre of the Innocents (of which two virtually identical versions were engraved). Among prints of the paintings The Parnassus (with considerable differences)[73] and Galatea were also especially well known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century. Baviero Carocci, called "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his money,[74] ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.[75]
Between 1509 and 1511, Raphael also completed another work on the wall opposite the "Disputa". This third painting, entitled "The School of Athens", represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.
Vatican City is home to some of the most famous art in the world. St. Peter's Basilica, whose successive architects include Bramante, Michelangelo, Giacomo della Porta, Maderno and Bernini, is a renowned work of Renaissance architecture. The Sistine Chapel is famous for its frescos, which include works by Perugino, Domenico Ghirlandaio and Botticelli as well as the ceiling and Last Judgment by Michelangelo. Artists who decorated the interiors of the Vatican include Raphael and Fra Angelico.
As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed Mona Lisa, but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal Holy Family, was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost Leda and the Swan, from which he adapted the contrapposto pose of his own Saint Catherine of Alexandria.[27] He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings.[28]
Some of the most famous pieces Mühlberger has critiqued are done by Rembrandt, Leonardo da Vinci, and Pablo Picasso. Along with being a critic, Muhlberger was also a writer. He is known for a series containing critiques of illustrious authors. This series is made up of several books, "What makes a Rembrandt a Rembrandt?", "What makes a Van Gogh a Van Gogh?", "What makes a Monet a Monet?", "What makes a Degas a Degas?", "What makes a Cassatt a Cassatt?", "What makes a Goya a Goya?", "What makes a Bruegel a Bruegel?", What makes a Leonardo a Leonardo?", "What makes a Raphael a Raphael?", and "What makes a Picasso a Picasso?". More of his written works include a series titled "The Bible in Art". It contains the following books "Bible in Art: The Old Testament" and, "Bible in Art: The New Testament". Mühlberger's latest work is called "Charles Webster Hawthorne: Paintings and Watercolors".
Raphael made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had worked much less successfully with Raimondi.[71] A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving.[72]
The Roman Renaissance was also arguably one of the most important styles in Roman artistic history. The Renaissance period changed Rome's face dramatically, with works like the Pietà by Michelangelo and the frescoes of the Borgia Apartment, all made during Innocent's reign. Rome reached the highest point of splendour under Pope Julius II (1503–1513) and his successors Leo X and Clement VII, both members of the Medici family. In this twenty-years period Rome became one of the greatest centres of art in the world. The city hosted artists like Ghirlandaio, Perugino, Botticelli and Bramante, who built the temple of San Pietro in Montorio and planned a great project to renovate the Vatican. Raphael, who in Rome became one of the most famous painters of Italy creating frescos in the Cappella Niccolina, the Villa Farnesina, the Raphael's Rooms, plus many other famous paintings. Michelangelo started the decoration of the ceiling of the Sistine Chapel and executed the famous statue of the Moses for the tomb of Julius. Rome lost in part its religious character, becoming increasingly a true Renaissance city, with a great number of popular feasts, horse races, parties, intrigues and licentious episodes. The city's had a fruitful and thriving economy, with the presence of several Tuscan bankers, including Agostino Chigi, who was a friend of Raphael and a patron of arts. Before his early death, Raphael also promoted for the first time the preservation of the ancient ruins.
When the city of Barcelona was allowed to expand beyond its historic limits in the late 19th century, the resulting "Eixample" ("extension": "larger than the old city"; by Ildefons Cerdà), became the site of a burst of architectural energy known as the Modernisme movement. Modernisme broke with past styles and used organic forms for its inspiration in the same way as the concurrent Art-Nouveau and Jugendstil movements in the rest of Europe. Most famous among the architects represented there is Antoni Gaudí, whose works in Barcelona and spread in other parts of Catalonia, León and Cantabria mixing traditional architectural styles with the new, were a precursor to modern architecture. Perhaps the most famous example of his work is the still-unfinished La Sagrada Família, the largest building in the "Eixample".
The Renaissance had a great impact on Rome's appearance, with works like the "Pietà" by Michelangelo and the frescoes of the Borgia Apartment, all made during Innocent's reign. Rome reached the highest point of splendour under Pope Julius II (1503–1513) and his successors Leo X and Clement VII, both members of the Medici family. During this twenty-year period Rome became the greatest centre of art in the world. The old St. Peter's Basilica was demolished and a new one begun. The city hosted artists like Bramante, who built the Temple of San Pietro in Montorio and planned a great project to renovate the Vatican; Raphael, who in Rome became the most famous painter in Italy, creating frescos in the Cappella Niccolina, the Villa Farnesina, the Raphael's Rooms, and many other famous paintings. Michelangelo began the decoration of the ceiling of the Sistine Chapel and executed the famous statue of Moses for the tomb of Julius. Rome lost in part its religious character, becoming increasingly a true Renaissance city, with a great number of popular feasts, horse races, parties, intrigues and licentious episodes. Its economy was prosperous, with the presence of several Tuscan bankers, including Agostino Chigi, a friend of Raphael and a patron of the arts. Despite his premature death, and to his eternal credit, Raphael also promoted for the first time the preservation of the ancient ruins.
The chapel was most probably rebuilt from scratch with Raphael as the architect. A ground plan attributed to the artist was preserved in the Uffizi in Florence, it was presumably drawn at the beginning of the work around 1512. An inscription on the dome marked the completion of the mosaics in 1516. In the following years Lorenzetto worked on the architectural decoration of the chapel and the statues under Raphael's patronage. The main iconographic theme of the chapel was the Resurrection; and visually it represented a marriage between Christianity and classical antiquity.
Born in Florence to a family of weavers, Penni entered Raphael's workshop very early in his life, and collaborated with him on several works, including the famous Rooms of the Vatican Palace, as well as the frescoes of Villa Farnesina, both in Rome. Heinrich Wölfflin and some other writers credited him with the entire execution of the Raphael Cartoons, with Raphael only creating the initial design, though more recent writers believe Raphael did much of the work himself.
This first of the famous "Stanze" or "Raphael Rooms" to be painted, now known as the Stanza della Segnatura after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing The School of Athens, The Parnassus and the Disputa. Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael's last Pope, the Medici Pope Leo X, with whom Raphael formed an even closer relationship, and who continued to commission him.[36] Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor.
Giulio was on the whole more influential as an architect than as a painter, and his works had an enormous impact on Italian Mannerist architecture. He learnt architecture the same way he learned painting, as an increasingly trusted assistant to Raphael, who was appointed the papal architect in 1514, and his early works are very much in Raphael's style. The project for the Villa Madama outside Rome, built by the future Medici Pope Clement VII was given to Giulio on Raphael's death, and already shows his taste for playful surprises within the style of Renaissance classical architecture. Planned on a huge scale, it was incomplete by the Sack of Rome, and never finished.
Raphael (Brandyn T. Williams) is an executive on the cusp of either making it big or losing it all, depending on how a deal with a large distribution company goes. His co-worker Wayne (Britt Griffith) would love to see Raphael fail so he can himself progress within the business, a situation that is made worse when Raphael must take time off of work to go to the funeral of a family member in Metzburgh. On his way to Metzburgh, Raphael witnesses a Grim Reaper claiming a soul and ends up becoming a Grim Reaper himself. Raphael now has to find out what he's willing to do to get this status reversed and what Death (Michael Sciabarrasi) himself has planned for him.
• Raphael : the artist and his work in the perspective of the most famous photographs / edited and explained by a. Kolb, with a biographical introduction by Leopold Tzone, Tel Aviv: Massada, 5713
In this movie, the animosity between Raphael and Leonardo is the most straight-forward due to Raphael's anger at his brother leaving. He resents Leonardo's bossing them around and treating them like "[Leo's] little soldiers" when he (at least in Raphael's opinion) abandoned them for at least a year. This leads to a physical confrontation between Raphael and Leonardo and resulting in Raphael almost mortally wounding Leonardo before retreating - suddenly realising what he was about to do, and running in fear from his anger. After Leonardo is kidnapped, Raphael then acknowledges his mistake to Master Splinter and confesses what happened and why he understood the reason Leonardo was chosen as the leader. Master Splinter then explains to Raphael that his tendency to put the world's problems on his own shoulders as a protector of the weak is a great quality and that while he may not be his favorite student, it does not mean he is his least favorite son. Master Splinter then tells Raphael that his strength, his passion, and his loyalty to the people he cares about are also merits of a great leader, if it can be tempered with compassion. After Raphael, the Turtles, as well as Casey and April rescue Leonardo, Raphael is shown to be eager to fight alongside his brother instead of against him.
As in the North, most of the largest projects in the South were government sponsored works: but instead worked in confined, rather than open spaces, and worked with huge amounts of enclosed space, primarily in the state subsidized hugely expensive sports architecture. Korea since the 1980s had its most famous architectural works driven by sports: the Asian Games (1986), the Olympics (1988), and the 2002 World Cup stadia, as well as great support being given by the chaebols such as the Samsung Group which itself owned the sports teams for marketing purposes.
The Via Augusta, which connected Rome to Cádiz, most likely passed through it. During the early Islamic domination the Muslim governor Al-Samh ibn Malik al-Khawlani ordered a bridge to be built on the ruins of what was left of the old Roman construction. In the Middle Ages, the Calahorra Tower and the Puerta del Puente were built at the bridge's southern and northern ends, respectively (the latter is now a 16th-century reconstruction). The bridge was reconstructed and expanded to its current size. The arches depict the famous Moorish architecture that dominates the city's scenery. In the 17th century, a sculpture depicting St. Raphael was put in the middle of the bridge, executed by Bernabé Gómez del Río.
With America in the throes of the Great Depression, Soriano managed to find work upon graduation with the County of Los Angeles on several WPA projects, such as the famous "Steel Lobster", and in a local architect's office. By 1936, he had completed his first commission, the Lipetz House, which appeared in the 1937 International Architectural Exhibition in Paris.
Architectural work also came to di Giorgio through his employment with the Duke, including what is probably his most famous building, Santa Maria delle Grazie al Calcinaio in Cortona. The church was challenging to design due to the steep incline of its location, but di Giorgio's skill with engineering and architecture allowed him to design a solid building which still stands.
Paintings of classical mythology were invariably done for the important salons in the houses of private patrons. Botticelli's most famous works are for the Medici, Raphael painted "Galatea" for Agostino Chigi and Bellini's "Feast of the Gods" was, with several works by Titian, in the home of Alfonso I d'Este
His most famous works are elaborate narrative cycles, executed in a dramatic and colorful style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts, crowded with figures, painted for the refectories of monasteries in Venice and Verona are especially famous, and he was also the leading Venetian painter of ceilings. Most of these works remain "in situ", or at least in Venice, and his representation in most museums is mainly composed of smaller works such as portraits that do not always show him at his best or most typical.
The period known as the High Renaissance represents the culmination of the goals of the earlier period, namely the accurate representation of figures in space rendered with credible motion and in an appropriately decorous style. The most famous painters from this time period are Leonardo da Vinci, Raphael, and Michelangelo Buonarroti. Their images are among the most widely known works of art in the world. Leonardo's The Last Supper, Raphael's The School of Athens and Michelangelo's Sistine Chapel ceiling are the textbook examples of this period.
In 1503 Viti was painting banners for Cesare Borgia, who had expelled Duke Guidobaldo da Montefeltro as lord of the city. Guidobaldo regained Urbino in 1504 and Viti, along with Girolamo Genga, was commissioned by Bishop Arrivabene to decorate the chapel of S Martino in the cathedral. He continued to work successfully in the Marches for the rest of the decade, and as far south as Siena, where he and Genga collaborated on paintings in the Palazzo Petrucci in about 1508. 
Around 1514, Viti formed part of the large team assembled by Raphael and worked on the frescoes Raphael designed in the Chigi Chapel in Santa Maria della Pace in Rome. It has been suggested that he is depicted (as the Ancient Greek painter Protogenes) in "The School of Athens", Raphael's most famous work, standing next to Raphael's self-portrait, although Vasari does not mention this identification.