In the last several articles, we have looked at women's roles during the Renaissance and early Mannerist eras. We have seen women as objects of art, women as patrons of the arts, and women as artists. However, there is another role women played in art, and that was as muse, to inspire the artist to be at his peak of his creativity. Let's take a glance into the studio of one of the greatest of the High Renaissance painters, Raphael Santi, and see how women inspired him to create a series of Madonnas that are still considered among history’s greatest works of art.
Raphael was considered one of the most popular artists of his day. He was born Raffaello Santi in Urbino on April 6, 1483, and received his early training in art from his father, Giovanni Santi. In 1499 he went to Perugia, in Umbria, to study under the painter Perugino. Raphael imitated his teacher very closely, and their painting styles are so similar that art historians have sometimes found it extremely difficult to determine which paintings were by Raphael, and which were by Perugino. Raphael was an artist who "absorbed" influences in his art. According to many art historians, Raphael "took possession" of what he saw and used it in his art, always growing by what was taught to him.
Raphael painted a series of Madonnas that took the Renaissance world by storm. It is believed their composition was influenced by the works of Leonardo da Vinci, whom he met when he moved to Florence. Let’s take a look at the small Cowper Madonna (above right) with its soft and gentle contours and perfection of balance. It has often been noted to resemble some of Leonardo’s paintings of the subject.
Madonna of the Chair (below left) was painted more than ten years later, but also reflects the sweetness and harmony that are identified with Raphael’s style, although we can definitely see subtle changes in the facial composition. This particular work is considered the most popular of all Raphael’s Madonnas and was probably painted for Pope Leo X, or a member of the powerful Medici family. Take a close look at the circular design; the interlocking arms and legs, and the directional gazes within the picture all emphasize the circular composition.
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The interesting irony for these scenes of religious faith is the notion, recorded by the historian Giorgio Vasari (a contemporary of Raphael, whose book Lives of the Artists is still read to this day), that Raphael was an atheist, and that he painted what would be acceptable, not what he felt to be true. He was, however, a great appreciator of feminine beauty, and was noted to have been a ladies’ man. Many historians believe that a great many of the images of Mary were posed by the same woman, and that woman was Raphael’s mistress, Margherita Luti.
Raphael and Margherita (shown at right) shared a relationship that lasted over many years, despite his triflings with other women and his short-lived engagement to Maria Bibbiena, who died before their marriage could take place. Margherita, however, remained steadfast and served as Raphael’s muse as well as his lover. It is not known for certain how many of the portraits were of her, or merely inspired by her, but one fact is certain: the generations who came after are grateful for her presence, as a shining star that lit Raphael’s way. She was the One who Raphael believed in and trusted, and it is this belief and trust we see as the serene cohesion that binds the Madonnas together.
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