Painting Analysis
In The School of Athens, the viewer is invited into a Classical interior, whereby the visual complexity of the painting mimics the complexity of intellectual life at the time when classical thinking was reborn. Nevertheless, despite its visual intricacy, the painting demonstrates Rafael’s understanding of spacial relationships and outstanding ability of placing a large number of figures (sixty) in an aesthetic and symmetric harmony, balance and order, successfully preventing overcrowding. These two philosophers seem to be reconciled pictorially by the arch emerging above them, setting them apart from the other bodies. However, although the presence of the vanishing point in this imaginary horizon seems to create a sense of real space, both within the painting and around the viewer, the figures featured in The School of Athens are located in an unusual familiar space that is neither enclosed, nor open and where we can only see people, marble and sky: something which makes the setting look like a non existing utopia. The appearance of this painting as a “utopia” could arguably derive from the way in which Raphael blends Greek practices and Roman traditions: demonstrated by the incorporation of Roman architecture (probably a Roman pantheon) in a solely Greek setting, as well as the disguise of the Greek Goddess Athena (the marble statue on the dextral portion of the painting) as the Roman Goddess of Wisdom: Minerva. Raphael also seems to have paid particular attention to the use of color as an instrument for a greater conveyance of meaning and purpose. Overall, Rafael has operated with a pallet of warm pigments, most frequently using different tones of red: a color mostly associated with the idea of wisdom and power. Yet, the fact that all of the subjects are wearing colorful robes, giving the painting certain vivacity, symbolizes their high rank in the realm of education. The importance of color for Rafael can be further proved by Giorgio Vasari’s description of Diana Polymastes’ garment: “Her garment is of four colours, representing the elements – from her head down the colour of fire; below her waist the colour of air; from her thighs to her knees the colour of earth; and from there to her feet the colour of water.” Finally, Raphael’s use of tone is of exceptional quality. Raphael’s use of the chiaroscuro, both to illustrate underlying body structures and define the surrounding architecture create three-dimensionality, depth and shape. Although, the light radiating through the windows creates darkness on the ceiling of the domes, the lightning in the painting seems to derive from many different sides of the agora, giving off a powerful brightness, which transmits the idea of intellectual thought.
It is also important to note the intentions of the artist as a means of framing the emotional and intellectual essence of the artwork. Raphael offers humans a projection of the world they desire. He does not want to sketch the real world, but paint the ancient sky of the new world. In short, he paints what we dream of. Even more importantly, The School of Athens puts into light Raphael’s admiration and preference of antiquity and classical though and his desire to excavate Rome and rebuild it on the foundations of the ancient.
The analysis of Raphael’s painting trough the lens of philosophy illustrates the essence or the basis of the Renaissance. Prior to the Middle Ages, Greek manuscripts and the ideas of Plato and Aristotle were lost knowledge in European countries: where Christian writings dominated. That is to say, following the fall of the Roman Empire, there was a prevalent disregard of Greek texts, which remained un-translated for a long period of time. Nonetheless, the Islamic translation of Greek antique texts set the break in this trend during the twelfth century: which saw Europeans increasing their contacts with the Islamic world and seek translations of Greek scientific and philosophical treatises, especially those by Aristotle. This spread of knowledge in Western Europe lead to the revitalization of its philosophical roots: a change, which demonstrated itself through the development of artistic achievements during the Italian Renaissance. Such artists as Raphael now began to depict theories of classical antiquity and a different vision of life, instead of using art as a vector for religious beliefs, demonstrating their increasing interest in the Ancient Greek and Roman literature and philosophy. In fact, Raphael’s The School of Athens created a profoundly intellectual, rather than spiritual, scene, gathering the icons of ancient philosophy: from Aristotle and Plato, to Socrates and Epicurus. Raphael also successfully uses visual forms and perceptible content as a means of evoking philosophical connotations. A clear example of this technique can be recognized through Plato’s rhetorical gesture of pointing at the sky, which does not infer that reality literally lies in the heavens, but could directly refer to his belief that the world is a semi-real image or imitation of the divine, eternal and unchanging material forms, as expressed in the Timaeus.
Clearly, Raphael’s The School of Athens mirrors the society that the artist lived in. It is is a visual representation of, not only philosophical theories, but of the rediscovery of Ancient Greek texts in the twelfth century: something which lead to the transformation of intellectual life in Italy and Western Europe. This way, The School of Athens also act as a projection to an admired past: a past, which is made to live again.
The Goal of our Reinterpretation
In Raphael’s The School of Athens, the staircase that runs across the mural is used to horizontally divide the representation of high philosophy (personified by the ancient Greek philosophers situated at the top of the staircase) to that of lower philosophy, or mathematics, (represented by the figures below the staircase). However, this division is not immediately clear due to a number of figures transitioning through the stairs, as well as communicating and sharing knowledge (as demonstrated by the absorbed group of students huddling around Euclid and attentively receiving his teachings). Through the reinterpretation of this masterpiece, our goal is to highlight the difference between the lifestyles of the high and low ranking castes in today’s society, not only in the realm of knowledge, but that of prosperity, education and the everyday. While The School of Athens portrays the pleasantness of collaboration, our piece will provide a more realistic outlook on contemporary life: whereby competition prevails over collaboration in today’s institutions. Moreover, our reinterpretation will relate the increase of knowledge to the material world. That is to say, our aim is to display how in today’s society, the availability of education and, hence, of knowledge is directly affiliated with wealth. Because Education (especially higher education) is significantly expensive, only one section of society will be capable of accomplishing ambitious goals and develop expertise.
Identify a Material Method
My group will construct a podium staircase, with a cavelike layer below it, using a thick cardboard material, which will be painted white. Onto and below the staircase we will be placing a large variety of objects, which will physically replace the figures found in Raphael’s The School of Athens. These objects will range between expensive commodities (representing the higher-ranking caste) to low-priced products, which are typically associated to the lower-ranking classes. While the clearly fancy items will be arranged across the three levels of the staircase, the cheaper objects will appear torn and damaged and chaotically deposited within the rectangular opening below the staircase. Once the installation is complete, we will be using lightning equipment to create a contrast between an enlightened staircase and a somber below. In particular, we will be making sure that no light reaches the rectangular shaped container beneath the staircase by adding a flat surface of white cardboard projecting outward, which will trace a greater shadow onto the scattered objects. This use of light will further transmit the idea of the coexistence of two completely distinct worlds: whereby the presence of light, as well as the staircase constructed in the shape of a podium, emphasizes the idea of intellectual development, growth and transition towards success, while the absence of light indicates the stationary position of the lower social classes. A photograph of the establishment will be taken, which will shape our final re-interpretative piece.
There are a number of artists who use this same technique of constructing a set or installation and photographing it, including:
Jeff Wall
Sandy Skoglund
JeeYoung Lee
Prototype
The above image illustrates a prototype I have devised following the a first general group plan: whereby the goal of our reinterpretation, the objects to be used and the structure onto which these are to be position were established. Nonetheless, this quick sketch features only the upper section of the staircase and proposes a possible arrangement for these luxurious items.
Group Plan: Timeline and Task list
Monday 19th November: Establish who will bring which items.
Friday 24th October: Ahana and Juliana will purchase the items missing on our list and the cardboard needed to build the staircase.
Monday 26th October: I will purchase the art materials with which the staircase will be built and painted (e.g. sponges, scotch and strong glue). Ahana and Juliana will collect the photo lighting materials. Together we will be building the staircase and organize the objects onto the installation. Once the installation is completed, each one of us will get a chance to take a photograph of the Final Re-Frame piece.
Over the next week prior to Monday 3rd November: I will complete the analytical writing supporting the piece within the Planning, Process and Final Work Posts. Jake will photoshop the final photograph, while Ahana will order the print.
