SSTEIN Research Proj- Raphael’s Cartoons for the Sistine Chapel Tapestries

Freedberg Continued
Freedberg, Painting of the High Renaissance, Oberhuber, Hall. 280-293

In the creation of the Cartoons for the Sistine chapel, Raphael made each tapestry contains a scene that he focused on making with the intention to achieve a maximum coherent lucidity. The form and content has a lucidity that most none of his other works contained. Each of the tapestries is also more explicit in form and classical style than his previous works. The shape in which the important elements of the tapestries are arranged is extremely compact. The designs seem simpler than that of most frescos, and less ornamentally decorated. The geometrical designs and placements of figures is more obvious to the eye. The perspective in the cartoons is clear, but there is no longer a need for perspective. The shape and masses of the figures fill the space in the cartoons. In some of the designs the figures create a rectangular whole shaped solid that acts as a deep relief. The appearance seems to be a classical relief style. The classical antiquity in the figures and the visual information in the cartoons blends well with the style approached to show the clarity of generalization in designs. (280)

In the cartoons, the dominant theme is the sense of humanity in the actors of the scenes. The effect of the characters scale, shape in space, and actions within the composition are composed formally and conceptually. The clarity in the design that is instantly legible by the viewer creates dramatic action within the composition. The gestures in the cartoons have strong expressions with strong significance, and the gestures are extremely vigorous and lucid.  The hierarchy of the characters is not placed on the size they are or the position they are located in the scene, the hierarchy and social status placement is characterized by the role each individual plays in the scene itself. The figures are very naturally composed and look humanistic, but also have a spiritual force. (281) there is a sense of action and reaction amongst the charters represented that relate the figures and create meaning. There is a direction of movement in each design that depicts the sequence of events in each of the dramatic cartoons. (282)

The cartoons were created to show emphasis. There is strong clarity in the expression of the gestures and faces of the figures. The meaning and expressions show a forceful emphasis on the meaning and iconography rather than a graceful implication of the events being portrayed. (283)

The cartoon s have a strong contrapposto, but the interactions of the actors in the scenes are very harmonious and well composed. The major actors seem to be set in bold relief for emphasis where the minor actors are more set back and are merely stated and simplistic. (284)

The cartoons are very harmonious. There clarity and literal sense is more ideal. The simplicity expresses the idea in form and content, without the need for extremely decorated subjects. The colors used in the cartoons are more illusionistic than descriptive. The effect of color seems dry creating a leeched bronze tone that is set in an airless light. The colors used form muted reds and greens in the background create this different tonality and feeling. (287)