Instruct: Given a question, retrieve documents that can help answer the question.
Query: Who was Raphael's teacher?
According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500.
The ceiling of the Sistine Chapel was to have a profound effect upon other artists, even before it was completed. Vasari, in his Life of Raphael, tells us that Bramante, who had the keys to the chapel, let Raphael in to examine the paintings in Michelangelo's absence. On seeing Michelangelo's prophets, Raphael went back to the picture of the Prophet Isaiah that he was painting on a column in the Church of Sant'Agostino and, according to Vasari, although it was finished, he scraped it off the wall and repainted it in a much more powerful manner, in imitation of Michelangelo. John O'Malley points out that even earlier than the Isaiah is Raphael's inclusion of the figure of Heraclitus in the "School of Athens", a brooding figure similar to Michelangelo's Jeremiah, but with the countenace of Michelangelo himself, and leaning on a block of marble.
Sylvia Raphael was born on 1 April 1937, near Cape Town, South Africa. Raphael, whose father was a Jewish atheist and mother was Christian, was raised in her mother's religion. Having witnessed an antisemitic incident in her native country as a child, however, she immigrated to Israel in 1963. She initially lived on a kibbutz, and later worked as a teacher before moving to Tel Aviv, where she was recruited by Mossad. After training she attained the rank of “combatant,” the highest rank for a Mossad agent. This ranking qualified Raphael to operate in foreign countries, and she was sent to Paris in the guise of a freelance journalist with a Canadian passport in the name of real-life Canadian photojournalist Patricia Roxborough. When the Israeli government decided to track down the Black September operatives who committed the Munich massacre in Munich, West Germany in 1972, Raphael provided valuable intelligence which led to the killing of three, before being assigned to an Operation Wrath of God team.
Raphael Levi Hannover (1685 – May 17, 1779) was a German mathematician and astronomer. The son of Jacob Joseph, Hannover was born at Weikersheim, Franconia in 1685. He was educated at the Jewish school of Hanover and at the yeshivah of Frankfurt am Main, and became bookkeeper in the firm of Simon Wolf Oppenheimer in Hanover. Here he attracted the attention of Leibniz, and for a number of years was one of his most distinguished pupils (including last secretary), and afterward teacher of mathematics, astronomy, and natural philosophy. He also corresponded with Moses Mendelssohn.
Raphael von Koeber (, January 15, 1848 in Nizhny Novgorod - June 14, 1923 in Yokohama) was a notable Russian-German teacher of philosophy at the Tokyo Imperial University in Japan.
Rabbi Raphael shepherded the congregation from strength to strength during a time of generational change in San Francisco and the American Jewish world. His lasting legacy includes creating a big tent for Judaism at Sherith Israel's Reform congregation, building community in a city of changing demographics and culture, and committing to the challenge of bringing the historic synagogue into compliance with the city’s seismic retrofit mandate. Rabbi Raphael is, was, and always will be a teacher. His plans after Sherith Israel include teaching at the Fromm Institute and at Lehraus Judaica. He also will work with faith leaders on important issues affecting the lives of San Francisco residents as a board member of the San Francisco Interfaith Council. Rabbi Raphael will also volunteer with the Bay Area Jewish Healing Center.
Ghirlandaio is credited as the teacher of Michelangelo. Francesco Granacci is another among his pupils. According to Vasari, these two were sent by Ghirlandaio to the Medici Academy, when Lorenzo de' Medici requested his two best pupils. Although Michelangelo regarded himself primarily as a sculptor, in the 16th century he was to follow his master as a painter of frescos, at the Sistine Chapel.
Raphael Hillyer (April 10, 1914 – December 27, 2010) was an American viola soloist, teacher. Born Raphael Silverman in Ithaca, New York, his career included playing in the Boston Symphony Orchestra and co-founding the Juilliard String Quartet. Hillyer was still lecturing and teaching viola at Boston University during the final month of his life.
Michelangelo's father sent him to study grammar with the Renaissance humanist Francesco da Urbino in Florence as a young boy. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches and seek the company of painters. At thirteen, Michelangelo was apprenticed to the painter Domenico Ghirlandaio. When Michelangelo was only fourteen, his father persuaded Ghirlandaio to pay his apprentice as an artist, which was highly unusual at the time. When in 1489 Lorenzo de' Medici ("Lorenzo il Magnifico")," de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci. Lorenzo had taken notice of Michelangelo’s unusual talent and, wishing to encourage him, proposed for Michelangelo to move into the palace and live there as his son to be educated along with the Medici children. Lorenzo even offered Michelangelo’s father Lodovico a respectable position in the palace. Michelangelo was thrown into the midst of the Medici circle where he was involved with poetry, science, philosophy, and art"."
When Michelangelo took up the Sistine Chapel commission, he was working within a space that had already been extensively decorated by other artists. Around the walls the "Life of Christ" and "Life of Moses" were depicted by a range of artists including his teacher Ghirlandaio, Raphael's teacher Perugino and Botticelli. They were works of large scale and exactly the sort of lavish treatment to be expected in a Vatican commission, vying with each other in complexity of design, number of figures, elaboration of detail and skillful use of gold leaf. Above these works stood a row of painted Popes in brilliant brocades and gold tiaras. None of these splendours have any place in the work which Michelangelo created. Michelangelo, when asked by Pope Julius II to ornament the robes of the Apostles in the usual way, responded that they were very poor men.
Peter of Ravenna (c. 1448–1508) was an Italian jurist. He is now best known for his memorization techniques, published in a 1491 work "Phoenix" ("Fenix") on the art of memory, a work that received an early form of copyright.
In the same year 1506, Pope Julius conceived a program to paint the ceiling of the Sistine Chapel. The walls of the chapel had been decorated twenty years earlier. The lowest of three levels is painted to resemble draped hangings and was (and sometimes still is) hung on special occasions with the set of tapestries designed by Raphael. The middle level contains a complex scheme of frescoes illustrating the "Life of Christ" on the right side and the "Life of Moses" on the left side. It was carried out by some of the most renowned Renaissance painters: Botticelli, Ghirlandaio, Perugino, Pinturicchio, Signorelli and Cosimo Rosselli. The upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first thirty-two popes. A draft by Matteo d'Amelia indicates that the ceiling was painted blue like that of the Arena Chapel and decorated with gold stars, possibly representing the zodiacal constellations. It is probable that, because the chapel was the site of regular meetings and Masses of an elite body of officials known as the Papal Chapel who would observe the decorations and interpret their theological and temporal significance, it was Pope Julius' intention and expectation that the iconography of the ceiling was to be read with many layers of meaning.
Like his contemporaries Frank Lloyd Wright and Mies van der Rohe, Le Corbusier did not have formal academic training as an architect. He was attracted to the visual arts and at the age of fifteen he entered the municipal art school in La-Chaux-de-Fonds which taught the applied arts connected with watchmaking. Three years later he attended the higher course of decoration, founded by the painter Charles L'Eplattenier, who had studied in Budapest and Paris. Le Corbusier wrote later that L'Eplattenier had made him "a man of the woods" and taught him painting from nature. His father took him frequently into the mountains around the town. He wrote later, "we were constantly on mountaintops; we grew accustomed to a vast horizon." His architecture teacher in the Art School was the architect René Chapallaz, who had a large influence on Le Corbusier's earliest house designs. However, he reported later that it was the art teacher L'Eplattenier who made him choose architecture. "I had a horror of architecture and architects," he wrote. "...I was sixteen, I accepted the verdict and I obeyed. I moved into architecture."
In 1507 he was sent to the Latin school at Pforzheim, where the rector, Georg Simler of Wimpfen, introduced him to the Latin and Greek poets and to Aristotle. He was influenced by his great-uncle Johann Reuchlin, a Renaissance humanist; it was Reuchlin who suggested Philipp follow a custom common among humanists of the time and change his surname from "Schwartzerdt" (literally "black earth"), into the Greek equivalent "Melanchthon" (Μελάγχθων).
Some years later in Rome, while at work on the ceiling of the Sistine Chapel, Michelangelo sought Giuliano Bugiardini's services but later rejected them. Vasari mentioned Bugiardini assisted Michelangelo very briefly in 1508 with the painting of the ceiling of the Sistine Chapel. He painted a "Martyrdom of St Catherine" for Santa Maria Novella in Florence, based on Michelangelo's sketches. He also painted in Bologna in 1526–1530.
Michelangelo was born in Florence in 1475 and, like Leonardo, was a true Renaissance man. He was a sculptor, painter, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art. He was considered the greatest living artist in his lifetime and, since then, one of the greatest artists of all time. His two best-known sculptures, the Pietà and David, are famous throughout the world. Michelangelo also created two of the most famous and influential frescoes in the history of Western art: the scenes from Genesis covering the ceiling of the Sistine Chapel, and The Last Judgment on the altar wall of the Chapel.
In 1508 Pope Julius II succeeded in getting the Florentine sculptor Michelangelo (1475-1564) to agree to continue the decorative scheme of the Sistine Chapel. The Sistine Chapel ceiling was constructed in such a way that there were twelve sloping pendentives supporting the vault that formed ideal surfaces on which to paint the Twelve Apostles. Michelangelo soon devised an entirely different scheme, far more complex both in design and in iconography. The scale of the work, which he executed single handed except for manual assistance, was titanic and took nearly five years to complete.
Marrel's stepdaughter Maria Sibylla Merian (1647–1717), daughter of the engraver Matthew Merian, who lived with Marrel and thus studied with Mignon, achieved distinction as a flower painter. Besides Merian, his other pupil was Ernst Stuven. He left two daughters when he died; Catharina and Anna.
He published two books, "The nine churches of Rome" ("Le nove chiese di Roma" 1639), and "The Lives of Painters, Sculptors, Architects and Engravers, active from 1572–1642" ("Le Vite de’ Pittori, scultori, architetti, ed Intagliatori dal Pontificato di Gregorio XII del 1572. fino a’ tempi de Papa Urbano VIII. nel 1642", 1642). The latter is still seen as an important historical source for artists living in Rome during the lifetime of Baglione. His first book was an artistic guide to Rome`s nine major pilgrimage churches, which is notable for its period in taking an interest in the works of all periods, and remains useful to scholars as an account of these churches at a point before many subsequent alterations. It "marks a watershed in the guidebook literature of Rome-the turning point between the older tradition of devotional guidebooks ... and the modern tradition of artistic guides".
Michelangelo was born in Castelfiorentino, the son of Desiderio Tilli and Lucrezia Salvadori. In 1677 he graduated in medicine and surgery at the University of Pisa and in 1681 was appointed as naval surgeon by Cosimo III. He embarked on a Tuscan galley for the Balearic Islands and went to Constantinople in 1683 with the florentine surgeon Pier Francesco Pasquali to tend to Musaipp Pasha Mustafa II, the son of the sultan Mehmed IV, after a serious fall from his horse. From there they spent some time in Albania and Adrianople, and Tulli went on to Tunis, to study the remains of Carthage and to collect botanical specimens.
The architect or architects of this innovative project remain unknown due to a lack of contemporary sources. Giorgio Vasari in his "Lives" attributed all the important papal projects in Rome during Sixtus IV to a Florentine, Baccio Pontelli including the basilica and monastery of Santa Maria del Popolo. Modern researchers deemed this claim highly dubious and proposed other names among them Andrea Bregno, a Lombard sculptor and architect whose workshop certainly received important commissions in the basilica. The fundamental differences between the façade and the interior suggest that maybe more than one architect was working on the building.
Growing up, education was of the utmost importance for Raphael. Her mother was one of the key driving factors for pushing an education because she saw that education was the key to advancing in life. Raphael’s path to climatology specifically was internally driven; however, she had people in her life that served as role models and mentors. Her high school teacher as well as her undergraduate adviser were both very encouraging of her pursuits into the geosciences. Professor Raphael’s interest in the Southern Hemisphere specifically came about when she was pursuing her PhD in Geography by her PhD adviser’s adviser.
"Raphael’s Ephemeris" was issued as a separate publication after Smith’s death, whilst others adopted and continued with the name ‘Raphael’. The second Raphael was John Palmer (1807–1837), a former student of Smith’s, who edited "Raphael's Sanctuary of the Astral Art" in 1834; the third was a Mr. Medhurst, the editor of the "Prophetic Messenger" between c. 1837–1847. Smith is sometimes confused with ‘Edwin Raphael’, who in fact was the pseudonym for the succeeding Raphael, (number four) a certain Mr. Wakeley (d. 1852). Number five was a Mr. Sparkes (1820–1875), editor of the "Prophetic Messenger" from 1852 to 1872, who even briefly edited "Raphael’s Ephemeris"’ main rival at the time, "Zadkiel’s Almanac". (‘Zadkiel’ was the pseudonym of Richard James Morrison, an astrologer/inventor whose almanac dates back to 1831.) Robert Thomas Cross (1850–1923) became the next Raphael, obtaining the copyright to the publication at some time in the 1870s.
His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello.
Raphael of St. Joseph Kalinowski, O.C.D. (, ) (1 September 1835 – 15 November 1907) was a Polish Discalced Carmelite friar inside the Russian partition of Polish-Lithuanian Commonwealth, in the city of Vilnius (). He was a teacher, engineer, prisoner of war, royal tutor, and priest, who founded many Carmelite monasteries around Poland after their suppression by the Russians.