Рафаел у ренесанси и европској нововековној култури

Abstract

The paper examines the transitions of the cult of Rafaello Sanzio da Urbino (1483-1520) in European culture. In his own time, Raphael was considered the creator of the natural historical link between ancient Rome and Rome as created by the pope Julius II. Giorgio Vasari was the first to attribute to Raphael the aura of the divine artist who does not depend on the imitation of reality but, rather, on divine inspiration. Over time, he became synonymous of the lost painting of antiquity and of its rebirth in the Renaissance. With the foundation of the Académie Royale de peinture et de sculpture in 1648 and subsequently of other art academies, Raphael was appointed as the founder of aesthetic ideals and academic practice. In the eighteenth century, notably since the era of the Enlightenment, Raphael was praised as the encyclopedia of historical painting. Thanks to Napoleon’s ability to enhance arts for political purposes, Raphael passed from noble and elitist circuits of art theory to the public policy arena. In the context of the romantic historicism, Raphael's supposed melancholy character, erotic passion or, as others have argued, complete celibacy, were praised. Raphael combined sound and much loved European ideals of genius, artistic integrity, social elegance, economic success, fame and popularity. His reputation was confirmed by many of his creations, none of which was vigorous, comprehensive and lasting as the Sistine Madonna. With regard to the Sistine Madonna as a global myth of modern Europe, we can talk about the role of Classicism in totalitarian regimes, political use of art, the importance of visual culture in the formation of the contemporary European society, an the commercial use for of art works.