Who was Raphael's teacher?
Raphael
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,[14] 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.[15] 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.[16] 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.[17] The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches.[18] Raphael is described as a "master", that is to say fully trained, in December 1500.[19]
List of paintings by Raphael
The following is a list of paintings by Italian Renaissance painter Raphael. Together with Michelangelo and Leonardo da Vinci he forms the traditional trinity of great masters of that period. He was enormously productive, despite his early death at 37, and a large body of work remains, especially in the Vatican, where Raphael and the large team under his direction, executing his drawings frescoed the Raphael Rooms known as the Stanze. He was extremely influential in his lifetime, but after his death the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when his more tranquil qualities were again widely taken as models.