John Smith
October 29, 2015
ART 1300-C
Mrs. Issacson

“The School Of Athens” As one of the renowned great master of the High Renaissance era, Raphael Sanzio da Urbino is best known for his work pertaining to the “School of Athens”. The Italian painter and architect of the High Renaissance period, is highly respected for his work. His work was primarily admired for its clarity of form, ease of composition, and visual achievement of the Neoplantonic ideal of human grandeur. Raphael was the youngest of the great artists, living from 1483-1520, as stated by “Rahpael’s School of Athens: A Theorem In A Painting?.” (Haas, 2012, pp. 4). Along side Michelangelo and Leonardo da Vinci; they compose the traditional trinity of great masters of the High Renaissance period. During this period, Living with Art said, “Pope Julius II asked Raphael Sanzio da Urbino to decorate the walls of several rooms in the Vatican palace” (Getlein, 2013, pp. 160). The School of Athens is “considered to be the summation of Renaissance Art by many” according to Living with Art (Getlein, 2013, pp. 160). Raphael composed this painting through the method of fresco for the end wall of the Stanze della Segnatura. This room was a room that may have been the Pope’s library. The School of Athens was started in 1510 and completed in 1511. The twenty-six foot by eighteen foot painting still resides in the Vatican of Rome, with in the Stanza della Segnatura (Getlein, 2013, pp.160). The School of Athens depicts several Greek philosophers centered in the composition and framed by the arch. These philosophers include Plato and Aristotle. Living with Art states that “ Along side their students, the “school” in question means the two schools of philosophy represent by the two Classical thinkers. Plato’s the more abstract and metaphysical, while Aristotle’s the more earthly and physical” (Getlein, 2013, pp. 160). Looking closely at Raphael’s work, we can see the amount of thought and precision applied to the composition the “School of Athens”. The complex principles of design and elements of art are clearly evoked throughout the entire piece. The School of Athens is a marvelous work of art that goes unnoticed at times, compared to other famous works of art. The work of art evokes so many principles and elements of art. One of the most profound elements of art exhibited by this work is the space. The space is simply mesmerizing throughout this work of art. “Raphael School of Athens: A Theorem in a Painting?” stated the “scientific perspective allows the artist to show three-dimensional space as realistically as the School of Athens, which was a newly-won triumph of early renaissance mathematics.” (Haas, 2012, pp. 5). The space of draws you inside the hall, as if you were standing just under the arch gazing at Aristotle and Plato. The sense of three-dimensional space is so profound that “Raphael’s School of Athens: A Theorem in a Painting” stated that “each individual is alive and yet combined in a design, that is harmonious, clear, and befitting the classic importance and dignity of its subject” (Haas, 2012, pp. 8). The work of art also has a lot of motion occurring throughout the piece. The majority of the subjects are engaging in concise intellectual conversations that pertain to the classical thought processes of Plato and Aristotle.
The basic principles and guidelines to the School of Athens include pattern, shape, and line. The dominant elements and principles that appear more evident are balance, rhythm, emphasis and proportion. The concept of space and depth in the School of Athens, as well as other works of art during this period, was reinvented by the use of Raphael’s work in the line, shape, structure, and balance throughout the proportion and perspective. As you concentrate on the entire painting, the emphasis towards Plato and Aristotle is quite profound. The twenty-six foot by eighteen-foot painting is center between these two figures. There is also emphasis between the other figures that “can easily be interpreted as practitioners of some of the seven liberal arts” (Most, 1996, pp. 153). The figures that can be distinguished are the geometer and astronomer prominently displayed among the right foreground of the painting. “Raphael: The ‘School of Athens’ and its Pre-Text” states that you can also “locate arithmetic and music in the tablet held up for Pythagoras, present in the left foreground” (Most, 1996, pp. 153). Another source of emphasis occurring within the piece is the emphasis of the opening. This painting emphasizes the opening arch, as if you were walking into the room where the congregation was occurring. This makes the painting inviting, giving the viewer a realistic approach to the piece.
Another element of art that can be seen in the School of Athens is the principle of balance. The entire piece has balance occurring everywhere. The most profound source of balance can be found throughout the entirety of the work of art. The piece is symmetrical vertically and horizontally with respect to the figures. The actual structure the figures are residing in is completes symmetrical and repeating on each side, while still having a small difference. This difference can be seen as the statues or sculptures residing within the walls of the building. Other than the differing figures occurring, the rest of the crowning, and impressions on the ceiling, provide the work of art with balance, rhythm, as well as focusing on the structure of the piece.
Also, the building within the work of art shows a great deal of repetition in the design. The statues repeat down the hall, as well as the second and third corridor in the background. The ornate design can be observed all throughout the painting on the entrance arch, and structures. The ceiling also has a repetitive design with hexagons and diamonds that are arranged in a pattern. The repetitive pattern is almost like filler to the painting. The depth of the painting accompanies the repetitive patterns, which aid with the immersion of the viewer. The combination of a visual element and a principle of design invite the viewer as if the were walking up to the group from the archway entrance.
Another element that Raphael utilizes during the work of art is color. The color of the building, and structures the figures are using or sitting on are a marble white. The color of the structures gives a sense of purity, or in the presence of higher knowledge and power. While the structures are white and pure, the figures have a wide variety of color occurring. Although one could view this variety, I believe it coexists along with unity. The colors are so prevalent and bright, that you are able to make a quick distinction between the figures. I believe the colors are a representation of the individual figures ideals or belief that coexist with the two philosophers, Plato and Aristotle. The variety of colors is also perceived as unity between the figures. The figures are not having disputes between one another, or random acts of violence. There seems to be a sense of peace and understanding occur in the congregation. The figures also seem to be learning off of one another, or questioning the reasoning behind an ideal a figure might be expressing. Although the piece has a mass amount of variety, I believe it goes hand in hand with the unity principle of art. Most of the time in works of art as a battle is depicted the sense of unity is at risk because of the dispute. In the School of Athens even though the parties differ in thought, they are peaceful and coming together as if they were a congregation. This gives a sense of unity between the work of art, and is a major factor in enticing the viewer to be more drawn into it.
One of the most prevalent principles of designs occurring is scale and proportion. Most viewers whom view the work of art through an external means, such as book or condensed photograph, do not realize the actual size of the work. The piece measures twenty-six feet by eighteen feet. The scale and proportion of the figures residing in the piece are nearly as big as they would be in real life. Standing at about eighteen feet tall, the painting gives a new understanding to proportion when observing the painting in person. The painting towers over you in person, as you observe the elaborate details that exist within each figure. The proportions are similar for each figure compared to reality. This draws the viewer in as they observe the painting, in person, because of the similarity to reality.
The School of Athens personifies numerous visual elements, as well as principles of design. The amount of variety and unity involved within the work of art is mesmerizing. The scale and proportion of the work of art is in a league of its own, once the viewer considers the actual size of the painting. The School of Athens best illustrates the principle of balance, and visual element, three-dimensional space. Raphael was ahead of his time when constructing this work of art. This is why Raphael is one of the most respected artists of history, as well as a great master during his time in the Renaissance period.