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Raphael: The Betrothal of the Virgin (1504), Galleria degli Uffizi, Fl


This is a clear example of one point linear perspective. The lines paired with the mathematical angles in piece all point towards this door frame in the back of the piece. This creates a more realistic perspective when looking at the painting. The attention could have been drawn to this door frame specifically to reference the chapel. Since the painting represented a scene of a marriage, Raphel Sanzio could have wanted to subtlety point out this building in particular and used a popular technique to achieve this.

This painting is the Marriage of the Virgin by Raphel (Raffaello Santi or Sanzio). It is an oil painting that was painted in 1504. The main scene in this painting is the marriage of Mary and Joseph, representing the Marriage of Virgin Mary. The marriage of Mary was an open source of inspiration for many artists in the Renaissance, deriving from the Golden Legend source text. The techniques used by the artist followed popular trends in the Renaissance, and helped to draw the viewer to the main scene in the front. The glossy finish on the faces and clothing show that the piece is oil, and aid in making the figures more realistic. This helps in depicting Mary as beautiful and soft. The brush strokes are very fine and smooth which contrasts with the work of a Fresco. The painting's striking resemblance to Perugino's The Delivery of the Keys to Saint Peter shows that this painting must have been inspired by Perugino. The matching orthogonal lines, linearity, one point perspective, and scene at the front all match those made by Perugino, showing that Raphel was greatly inspired by trends made earlier in the Renaissance. Including one point perspective and orthogonal lines was very popular and deemed as prestigious at the time. The atmospheric perspective in the background also helped bring detail to the piece, without comprising the spotlight to the front. The rich colors used in the front in addition to foreshortening, make the viewer initially stay focused on the main scene. Throughout the painting, high level of detail towards modeling and shading helped to create realistic depictions of the figures. Overall, Raphel followed popular trends set in the Renaissance to depict the marriage of Mary and Joseph.Works CitedPicture and background information: The Marriage of the Virgin - Raffaello Sanzio (Raphael)The painting, dating from 1504, was moved from the Church of San Francesco in Città di Castello to the Pinacoteca in 1805. Raphael...Pinacotecabrera https://pinacotecabrera.org/en/collezione-online/opere/the-marriage-of-the-virgin/Source text: https://allenfisher.edublogs.org/files/2014/01/The-Golden-Legend-131-25ba9a3.pdf

This is a clear example of orthogonal lines being used to create linear perspective. These specific lines are orthogonal in nature due to their mathematical properties, a technique very popular in this time period. This helps to make the piece more realistic as it creates perspective and an illusion of an angle. It makes the center piece look closer, while making objects look further away as you move up in the painting. This puts further emphasis on the front of the painting, which should be the center piece.

Modeling and shading techniques used in the background of the scene helped to make the mountains look more realistic. This creates the illusion of atmospheric perspective. The mountains and clouds appear to be in the distance, much further away than the Chapel or other background objects in the painting. The techniques used to achieve this were aided by the use of fine strokes achieved through oil.

There is a subtle hint of foreshortening in this example here. The shading make it appear as if this suitor's shoulder is popping out at the viewer. This figure closest to the viewer, and the foreshortening helps to point him out. This stylistic choice could have been made to draw attention to the suitor breaking his stick. Other foreshortening is also seen in the elbow of Mary and Joseph.

The medium being an oil painting allowed the artist to make Mary look soft and beautiful with rich colored clothing. Mary's depiction follows trends set earlier in the Renaissance where poets, starting with Petrarch, made Mary a blonde and beautiful woman. By using oil and fine brush strokes, Raphel was able to make Mary look more realistic and soft. The flesh colored tones and appropriate shading depict Mary in a beautiful light, following techniques that appealed to the the Cult of Mary, depicting her in the most flattering way possible. Dressing Mary in a bright red dress followed thematic connections made in the source text and follows trends in the Renaissance of dressing Mary in red.