Together with Michelangelo and Leonardo da Vinci, Raphael net worth forms the traditional trinity of great masters of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Raphael was enormously productive, running an unusually large workshop and, despite his early death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome, much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael, The School of Athens. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.
Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque, took art "in a direction totally opposed" to Raphael's qualities; "with Raphael's death, classic art – the High Renaissance – subsided", as Walter Friedländer put it. He was soon seen as the ideal model by those disliking the excesses of Mannerism. Raphael's compositions were always admired and studied, and became the cornerstone of the training of the Academies of art. His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired. He was seen as the best model for the history painting, regarded as the highest in the hierarchy of genres. Sir Joshua Reynolds in his Discourses praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of the first [i.e., best] painters", especially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention. By 1900, Raphael's popularity was surpassed by Michelangelo and Leonardo, perhaps as a reaction against the etiolated Raphaelism of 19th-century academic artists such as Bouguereau. Although art historian Bernard Berenson in 1952 termed Raphael the "most famous and most loved" master of the High Renaissance, art historians Leopold and Helen Ettlinger say that the Raphael's lesser popularity in the 20th century is made obvious by "the contents of art library shelves ... In contrast to volume upon volume that reproduce yet again detailed photographs of the Sistine Ceiling or Leonardo's drawings, the literature on Raphael, particularly in English, is limited to only a few books". They conclude, nonetheless, that "of all the great Renaissance masters, Raphael's influence is the most continuous."