Toutes peintures ā l'huile d'RAFFAELLO Sanzio


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ID Image Painting(From A to Z)    Details 
70241  
RAFFAELLO Sanzio, Madonna della Tenda
 
 Madonna della Tenda   Medium Oil on wood Dimensions 65,8 X 51,2 cm
86964  
RAFFAELLO Sanzio, Madonna of Belvedere
 
 Madonna of Belvedere   1506(1506) Medium Oil on wood cyf
8741  
RAFFAELLO Sanzio, Madonna of Loreto (Madonna del Velo) at
 
 Madonna of Loreto (Madonna del Velo) at   1509-10 Oil on wood, 120 x 90 cm Mus??e Cond??, Chantilly
89446  
RAFFAELLO Sanzio, Madonna Solly
 
 Madonna Solly   1502/1503 Medium oil on panel Dimensions 52 x 38 cm (20.5 x 15 in) cyf
87980  
RAFFAELLO Sanzio, Madonna Terranuova, Szene: Maria mit Christuskind und zwei Heiligen, Tondo
 
 Madonna Terranuova, Szene: Maria mit Christuskind und zwei Heiligen, Tondo   1504-1505 Medium Oil on wood cjr
8738  
RAFFAELLO Sanzio, Madonna with Beardless St Joseph sy
 
 Madonna with Beardless St Joseph sy   1506 Tempera on canvas transferred from wood, 74 x 57 cm The Hermitage, St. Petersburg
8743  
RAFFAELLO Sanzio, Madonna with the Blue Diadem
 
 Madonna with the Blue Diadem   1510-11 Oil on wood, 68 x 44 cm Mus??e du Louvre, Paris
88339  
RAFFAELLO Sanzio, Madonna with the Blue Diadem
 
 Madonna with the Blue Diadem   between 1510(1510) and 1511(1511) Medium Oil on wood cyf
8723  
RAFFAELLO Sanzio, Madonna with the Book (Connestabile Madonna)  dy
 
 Madonna with the Book (Connestabile Madonna) dy   1504 Tempera on canvas transferred from wood, diameter 17,9 cm The Hermitage, St. Petersburg
51236  
RAFFAELLO Sanzio, Madonna with the Fish
 
 Madonna with the Fish   1512-14 Oil on canvas
86662  
RAFFAELLO Sanzio, Madonna with the Fish
 
 Madonna with the Fish   Date between 1512(1512) and 1514(1514) Medium Oil on canvas transferred from wood Dimensions Height: 215 cm (84.6 in). Width: 158 cm (62.2 in). cjr
90615  
RAFFAELLO Sanzio, Madonna with the Fish
 
 Madonna with the Fish   between 1512(1512) and 1514(1514) Medium Oil on canvas transferred from wood cyf
81904  
RAFFAELLO Sanzio, Maria mit Christuskind und zwei Heiligen, Tondo
 
 Maria mit Christuskind und zwei Heiligen, Tondo   Date 1504-1505 Medium Oil on wood cjr
55659  
RAFFAELLO Sanzio, Meditation
 
 Meditation   mk243 1508 120x105cm
55697  
RAFFAELLO Sanzio, Miraculous Fisherman
 
 Miraculous Fisherman   mk243 1515 360x400cm
55698  
RAFFAELLO Sanzio, Miraculous Fisherman
 
 Miraculous Fisherman   mk243 1515 360x400cm temper
52285  
RAFFAELLO Sanzio, Moses Saved from the Water
 
 Moses Saved from the Water   1518-19 Fresco Loggia on the second floor
55680  
RAFFAELLO Sanzio, Mountain
 
 Mountain   mk243 1510-1511
55643  
RAFFAELLO Sanzio, Mrs Yili
 
 Mrs Yili   mk243 1504-1505 58x36cm
55710  
RAFFAELLO Sanzio, Naked girl
 
 Naked girl   mk243 256x163cm
55660  
RAFFAELLO Sanzio, Original sin
 
 Original sin   mk243 1508 120x105cm
55664  
RAFFAELLO Sanzio, Philosophy
 
 Philosophy   mk243 1508
63794  
RAFFAELLO Sanzio, Philosophy
 
 Philosophy   1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The woman enthroned is enveloped in a garment that has four colours, each of which represents one of the four elements, which in turn are symbolized by their pattern. Blue is for the stars (air), red is for the tongues of flame (fire), green is for the fish (water), and golden brown is for the flora (earth). Philosophy holds two books with the titles "Morals" and "Nature," while two genii hold texts with Cicero's words Causarum Cognitio (Know the Causes). This picture is situated above The School of Athens.Artist:RAFFAELLO Sanzio Title: Philosophy (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
55665  
RAFFAELLO Sanzio, Poetics
 
 Poetics   mk243 1508
63795  
RAFFAELLO Sanzio, Poetry
 
 Poetry   1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The lyre and the laurel wreath are the symbols of Poetry, who here appears as a winged figure. Like Aristotle in The School of Athens, she is holding a book in an unusual way; the title is not known. Two putti are holding the tablets on which are written the words of the Roman poet Virgil's, "Numine Afflatur" (Inspired by the Spirit). The Christian "spirit" is meant here, since putti are holding the text and not genii, as with the figure of Philosophy.Artist:RAFFAELLO Sanzio Title: Poetry (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
55704  
RAFFAELLO Sanzio, Portrai ot Fidela
 
 Portrai ot Fidela   mk243 1515-1516 90x62cm Oil on canvas
77755  
RAFFAELLO Sanzio, Portrait de Jeanne d Aragon
 
 Portrait de Jeanne d Aragon   Oil Dimensions 95 ?? 120 cm (37.4 ?? 47.2 in) cyf
8744  
RAFFAELLO Sanzio, Portrait of a Cardinal
 
 Portrait of a Cardinal   1510-11 Oil on wood, 79 x 61 cm Museo del Prado, Madrid
82591  
RAFFAELLO Sanzio, Portrait of a Man
 
 Portrait of a Man   Date ca. 1502(1502) Medium Oil on wood Dimensions Height: 45 cm (17.7 in). Width: 31 cm (12.2 in). cjr
8712  
RAFFAELLO Sanzio, Portrait of a Man aet
 
 Portrait of a Man aet   c. 1502 Oil on wood, 45 x 31 cm Galleria Borghese, Rome
63818  
RAFFAELLO Sanzio, Portrait of a Woman
 
 Portrait of a Woman   1507 Oil on wood, 64 x 48 cm Galleria Nazionale, Urbino The female portrait known as The Mute Woman represents a return to the influence of Leonardo. It certainly comes from the Florentine environment, for it was given in trust to the National Gallery of the Marches by the Uffizi, where it had been stored for several hundred years. It was attributed to Raphael only recently. Leonardo inspires mainly the pose of the figure (whose characteristically crossed hands constitute a very clear reference to the Mona Lisa). The neatness of the large areas of colour which emerge in lighter tones from the near-black background, and the analytical treatment of the details of the woman's clothing are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour - used here in a fairly limited range - which unify the composition as a whole.Artist:RAFFAELLO Sanzio Title: Portrait of a Woman (La Muta) Painted in 1501-1550 , Italian - - painting : portrait
8728  
RAFFAELLO Sanzio, Portrait of a Woman (La Donna Gravida) drty
 
 Portrait of a Woman (La Donna Gravida) drty   1505-06 Oil on panel, 66 x 52 cm Galleria Palatina (Palazzo Pitti), Florence
83844  
RAFFAELLO Sanzio, Portrait of a Young Man
 
 Portrait of a Young Man   1514 Alternate: c. 1509-11 Medium Oil on parqueted board Dimensions 59 x 75 cm (23.2 x 29.5 in) cyf
79895  
RAFFAELLO Sanzio, Portrait of a Young Man.
 
 Portrait of a Young Man.   c. 1509-11 Oil on parqueted board 59 x 75 cm (23.2 x 29.5 in) cjr
63786  
RAFFAELLO Sanzio, Portrait of a Young Woman
 
 Portrait of a Young Woman   1518-19 Oil on wood, 85 x 60 cm Galleria Nazionale d'Arte Antica, Rome Much of Raphael's energy during his last years was directed toward public activity, or at least toward commissioners who were influential in city life and life within the Papal States (he designed a villa, known as the Villa Madama, for Cardinal Giulio de' Medici). Furthermore, many critics attribute to him a series of compositions of the Holy Family and of Saints which were then executed by his followers. The famous portrait of a young woman, called La Fornarina, must also be viewed in this perspective, although it is signed, in Latin, "Raphael from Urbino". The signature is engraved on the thin ribbon that the girl wears just under her left shoulder. Tradition identifies her with Margherita Luti, a Sienese woman whom Raphael loved, the daughter of a baker from the Roman district of Santa Dorotea. The stiffness of her features and the heavy chiaroscuro effect make La Fornarina an almost certain workshop piece with the contribution of Raphael, for Raphael's own work from this period is far more delicate. There are several old copies of this painting, the most famous in the Galleria Borghese.Artist:RAFFAELLO Sanzio Title: Portrait of a Young Woman (La Fornarina) Painted in 1501-1550 , Italian - - painting : portrait
81951  
RAFFAELLO Sanzio, Portrait of a Youth
 
 Portrait of a Youth   c. 1509-11 Medium oil on board Dimensions 59 x 75 cm (23.2 x 29.5 in) cjr
8732  
RAFFAELLO Sanzio, Portrait of Agnolo Doni
 
 Portrait of Agnolo Doni   1506 Oil on wood, 63 x 45 cm Galleria Palatina (Palazzo Pitti), Florence
89851  
RAFFAELLO Sanzio, Portrait of Agnolo Doni
 
 Portrait of Agnolo Doni   c. 1506(1506) Medium oil on panel Dimensions 63 x 45 cm (24.8 x 17.7 in) cyf
55702  
RAFFAELLO Sanzio, Portrait of Badashalei
 
 Portrait of Badashalei   mk243 1514-1515 82x67cm Oil on canvas
55683  
RAFFAELLO Sanzio, Portrait of cardinal
 
 Portrait of cardinal   mk243 1510-1511 Oil on board 79x61cm
90614  
RAFFAELLO Sanzio, Portrait of Dona Isabel de Requesens
 
 Portrait of Dona Isabel de Requesens   1518(1518) Medium Oil on wood transferred to canvas cyf
86661  
RAFFAELLO Sanzio, Portrait of Dona Isabel de Requesens, Vice-Queen of Naples
 
 Portrait of Dona Isabel de Requesens, Vice-Queen of Naples   Date 1518(1518) Medium Oil on wood transferred to canvas Dimensions Height: 120 cm (47.2 in). Width: 95 cm (37.4 in). cjr
55654  
RAFFAELLO Sanzio, Portrait of Duni
 
 Portrait of Duni   mk243 63x45cm 1506 Oil on board
63782  
RAFFAELLO Sanzio, Portrait of Jeanne d'Aragon
 
 Portrait of Jeanne d'Aragon   1518 Oil on wood transferred to canvas, 120 x 95 cm Mus?e du Louvre, Paris The painting was commissioned by Cardinal Bibbiena. It was intended as a gift for Francis I, King of France. It was executed by one of Raphael's pupils, perhaps on the basis of a design by Raphael. The painting was restored in 1540 by Primaticcio in Fontainebleau, after the restoration it was transferred from wood to canvas.Artist:RAFFAELLO Sanzio Title: Portrait of Jeanne d'Aragon Painted in 1501-1550 , Italian - - painting : portrait
51238  
RAFFAELLO Sanzio, Portrait of Jeanne d-Aragon
 
 Portrait of Jeanne d-Aragon   1518 Oil on wood
88334  
RAFFAELLO Sanzio, Portrait of Julius II
 
 Portrait of Julius II   between 1511(1511) and 1512(1512) Medium Oil on wood cyf
55652  
RAFFAELLO Sanzio, Portrait of Madali
 
 Portrait of Madali   mk243 1506 63x45cm Oil on board
8734  
RAFFAELLO Sanzio, Portrait of Maddalena Doni ft
 
 Portrait of Maddalena Doni ft   1506 Oil on panel, 63 x 45 cm Galleria Palatina (Palazzo Pitti), Florence
8715  
RAFFAELLO Sanzio, Portrait of Pietro Bembo
 
 Portrait of Pietro Bembo   c. 1504 Oil on wood, 54 x 69 cm Museum of Fine Arts, Budapest
87900  
RAFFAELLO Sanzio, Portrait of Pietro Bembo
 
 Portrait of Pietro Bembo   1504(1504) Medium Oil on wood cyf
88218  
RAFFAELLO Sanzio, Portrait of Pietro Bembo
 
 Portrait of Pietro Bembo   1504(1504) Medium Oil on wood cyf
88342  
RAFFAELLO Sanzio, Portrait of Tommaso Inghirami
 
 Portrait of Tommaso Inghirami   between 1510(1510) and 1514(1514) Medium Oil on wood cyf
55648  
RAFFAELLO Sanzio, Portrait of woman
 
 Portrait of woman   mk243 1505-1506 66x52cm Oil on canvas
55689  
RAFFAELLO Sanzio, Portrait of Yoliersi
 
 Portrait of Yoliersi   mk243 1512 107x80cm Oil on board
55649  
RAFFAELLO Sanzio, Portrait of younger woman
 
 Portrait of younger woman   mk243 1505-1506 65x51cm Oil on canvas
82205  
RAFFAELLO Sanzio, Portrat des Fedra Inghirami
 
 Portrat des Fedra Inghirami   1515 - 1516 Medium Oil on panel Dimensions 90 x 62 cm (35.4 x 24.4 in) cyf
79347  
RAFFAELLO Sanzio, Portrat des Papstes Leo X
 
 Portrat des Papstes Leo X   1518-1519 Medium Deutsch: Öl auf Holz cyf
85950  
RAFFAELLO Sanzio, Portrat einer jungen Frau
 
 Portrat einer jungen Frau   between 1518(1518) and 1519(1519) Medium Oil on wood cyf
63801  
RAFFAELLO Sanzio, Prime Mover
 
 Prime Mover   1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The figure bending in a beautiful scorcio over the celestial globe is a masterly example of perspective. Philosophically, this figure can be seen as an allegory of the beginning of the universe, but it might also be an embodiment of the science of astronomy. The constellation on the globe can be calculated exactly: the night of 31 October 1503, the date that Julius II was elected pope.Artist:RAFFAELLO Sanzio Title: Prime Mover (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
51284  
RAFFAELLO Sanzio, Psyche Offering Venus the Water of Styx
 
 Psyche Offering Venus the Water of Styx   1517 Red chalk, 263 x 197 mm
55691  
RAFFAELLO Sanzio, Psychic and angel
 
 Psychic and angel   mk243 1514-1515
78687  
RAFFAELLO Sanzio, Raffael
 
 Raffael   1518-1519 Medium Deutsch: Öl auf Holz cyf
67495  
RAFFAELLO Sanzio, Raffaello Angelo 1
 
 Raffaello Angelo 1   Title Italiano: Angelo Deutsch: Pala vom seligen Nikolaus von Tolentino, Detail: Engel English: Angel, fragment of the Baronci Altarpiece Year ? Technique Oil on panel Dimensions 31 X 27cm
83887  
RAFFAELLO Sanzio, Retrato de Pietro Bembo
 
 Retrato de Pietro Bembo   Date ca. 1504(1504) Medium Oil on panel Dimensions 54 x 39 cm cjr
87741  
RAFFAELLO Sanzio, Retrato de Pietro Bembo
 
 Retrato de Pietro Bembo   1504(1504) Medium Oil on panel Dimensions 54 x 39 cm cyf
87571  
RAFFAELLO Sanzio, ritratto virile della galleria borghese
 
 ritratto virile della galleria borghese   Oil on canvas cyf
58340  
RAFFAELLO Sanzio, Roveredo portrait
 
 Roveredo portrait   mk261 Florence about 1504 oil painting of wood 47.3 x 35.3 cm
84111  
RAFFAELLO Sanzio, Sao Joao Batista
 
 Sao Joao Batista   Date ca. 1518(1518) Medium Oil on canvas Dimensions Height: 165 cm (65 in). Width: 147 cm (57.9 in). cjr
55655  
RAFFAELLO Sanzio, Self-Portrait
 
 Self-Portrait   mk243 1506 45x33cm
8731  
RAFFAELLO Sanzio, Self-Portrait er78
 
 Self-Portrait er78   1506 Oil on wood, 45 x 33 cm Galleria degli Uffizi, Florence
55707  
RAFFAELLO Sanzio, Shemikaier and devil
 
 Shemikaier and devil   mk243 1518 268x160cm
55637  
RAFFAELLO Sanzio, Shesibasi
 
 Shesibasi   mk243 1501-1502 43x34cm Oil on board
82580  
RAFFAELLO Sanzio, Solly Madonna
 
 Solly Madonna   Date ca. 1502(1502) Medium Oil on wood Dimensions Height: 52 cm (20.5 in). Width: 38 cm (15 in). cjr
89132  
RAFFAELLO Sanzio, Spozalizio
 
 Spozalizio   1504(1504) Medium Oil on roundheaded panel cyf
89133  
RAFFAELLO Sanzio, Spozalizio
 
 Spozalizio   1504(1504) Medium Oil on roundheaded panel cyf
8718  
RAFFAELLO Sanzio, Spozalizio (detail) at
 
 Spozalizio (detail) at   1504 Oil on roundheaded panel Pinacoteca di Brera, Milan
8717  
RAFFAELLO Sanzio, Spozalizio (detail) jkfg
 
 Spozalizio (detail) jkfg   1504 Oil on roundheaded panel Pinacoteca di Brera, Milan
8716  
RAFFAELLO Sanzio, Spozalizio (The Engagement of Virgin Mary) af
 
 Spozalizio (The Engagement of Virgin Mary) af   1504 Oil on roundheaded panel, 170 x 117 cm Pinacoteca di Brera, Milan
63821  
RAFFAELLO Sanzio, St Catherine of Alexandria
 
 St Catherine of Alexandria   1508 Oil on wood, 71,1 x 54,6 cm National Gallery, London Half-way between a work of private devotion and a collector's piece, this picture was probably painted just before Raphael's move to Rome. Rather more evident than the influence of Perugino is that of Leonardo, who perfected the `serpentine' pose in which the body twists about its axis, lending movement, grace and three-dimensional presence even to static figures. Characteristically, Raphael justifies this unnatural position through a narrative device: Catherine turns her head upwards and to her right in ecstatic communion with the divine light descending in thin gold rays from the sky. St Catherine of Alexandria is portrayed in a marvellous, twisted pose. Her left arm is leaning on her attribute, the wheel, and her right hand is pressed to her breast while she gazes up at a sky flooded with light. The composition is as rich in harmonious movement as the coloration is full and varied. The landscape is painted with particular care. Its light shading indicates a residual influence of Leonardo, although the jagged mountains which often characterize Leonardo's landscapes are absent. The delicate modelling of the saint, the slight torsion of her body as she leans on the wheel of her martyrdom (whose spikes have been reduced to rounded knobs in order to tone down the element of cruelty) fully express the balanced character of Raphael's art. The panel clearly shows the intense formal research which underlies Raphael's figurative creations. He is always careful not to excite emotions which he considers too intense and to mitigate tones and thematic elements in search of a perfect balance between design, colour, pose and expression, and between the figurative and ornamental elements.Artist:RAFFAELLO Sanzio Title: St Catherine of Alexandria Painted in 1501-1550 , Italian - - painting : religious
82797  
RAFFAELLO Sanzio, St Catherine of Alexandria
 
 St Catherine of Alexandria   1508(1508) Medium Oil on wood cyf
63785  
RAFFAELLO Sanzio, St Cecilia
 
 St Cecilia   220 x 136 cm Pinacoteca Nazionale, Bologna Raphael probably accompanied Leo X when he went to Bologna to meet the King of France, Francis I, in 1515. He may have passed through Florence, where Leo was welcomed with great enthusiasm by his fellow citizens. Leonardo da Vinci - who later accepted the French King's invitation to Paris - and Michelangelo - to whom Leo X commissioned the New Sacristy of San Lorenzo - also followed the Pope. A letter which Raphael sent to the painter, Francesco Francia, provides proof of this journey. According to a legend, Francesco Francia died after seeing the St Cecilia which Raphael painted for the Church of San Giovanni in Monte in Bologna. The story is almost credible, for the Bolognese artistic environment still revolved around the style of Perugino. The painting was commissioned by Elena Duglioli dall'Olio of Bologna. She was famous for having visions and ecstatic fits in which music played a great part, which is probably why she asked for a picture of St Cecilia, the patron saint of music. Raphael decided on a painting in the style of a Sacra Conversazione, with St Cecilia in the centre surrounded by saints. The altarpiece, which is now in the Museum of Bologna, was placed in San Giovanni in Monte in 1515. It was painted some time before, however. The glorification of purity is the central idea behind this painting. This is expressed by the figures seen on both sides of the principal figure: St John the Evangelist is the patron saint of the church, and St Paul symbolizes innocence, while St Augustine and St Mary Magdalene stand for purity regained through atonement after sinful aberration. The four saints who surround the protagonist form a niche which is strengthened by the poses and gestures of the figures (the glances of the Evangelist and St Augustine cross, St Paul's is lowered and the Magdalene turns hers toward the spectator). Only St Cecilia raises her face toward the sky, where a chorus of angels appears through a hole in the clouds. The monumentality of the figures, typical of Raphael's activity during this period, dominates the other figurative elements. In the legend of St Cecilia, too, the painter emphasizes her desire to preserve her purity. As they were escorting Cecilia to the house of her betrothed, to the accompaniment of musical instruments, in her heart she called out only to God, beseeching Him to preserve the chastity of her heart and her body. So runs the fifth-century legend, and accordingly in this picture Cecilia does not hear the profane music, her eyes raised toward the heavens connects her directly with the choir of angels. This much is in complete agreement with the story of the Roman martyr.Artist:RAFFAELLO Sanzio Title: St Cecilia Painted in 1501-1550 , Italian - - painting : religious
89861  
RAFFAELLO Sanzio, St Cecilia
 
 St Cecilia   1514(1514) Medium Oil transferred from panel to canvas Dimensions Width: 60 cm (23.6 in). (of detail) cjr
51222  
RAFFAELLO Sanzio, St George and the Dragon
 
 St George and the Dragon   1505-06 Oil on wood, 28.5 x 21.5 cm
8725  
RAFFAELLO Sanzio, St George and the Dragon st
 
 St George and the Dragon st   1505-06 Oil on wood, 28.5 x 21.5 cm National Gallery of Art, Washington
88329  
RAFFAELLO Sanzio, St George Fighting the Dragon
 
 St George Fighting the Dragon   between 1503(1503) and 1505(1505) Medium Oil on wood cyf
51263  
RAFFAELLO Sanzio, St John the Baptist
 
 St John the Baptist   c. 1518 Oil on canvas, 165 x 147 cm
88330  
RAFFAELLO Sanzio, St Michael and the Dragon
 
 St Michael and the Dragon   between 1503(1503) and 1505(1505) Medium Oil on wood cyf
8726  
RAFFAELLO Sanzio, St Michael and the Dragon sdr
 
 St Michael and the Dragon sdr   c. 1505 Oil on wood, 31 x 27 cm Mus??e du Louvre, Paris
63778  
RAFFAELLO Sanzio, St Michael and the Satan
 
 St Michael and the Satan   1518 Oil transferred from wood to canvas, 268 x 160 cm Mus?e du Louvre, Paris The painting was a gift from the pope to the French king, Francis I. It was generally accepted that the painting is the work of Giulio Romano with the contribution of Raphael. It is now debated whether the work may not in fact be by Raphael after all, the stylistic anomalies being attributable to poor restoration techniques.Artist:RAFFAELLO Sanzio Title: St Michael and the Satan Painted in 1501-1550 , Italian - - painting : religious
51286  
RAFFAELLO Sanzio, St Paul Preaching in Athens
 
 St Paul Preaching in Athens   Tempera on paper, mounted on canvas, 390 x 440 cm
8705  
RAFFAELLO Sanzio, St Sebastian
 
 St Sebastian   1501-02 Oil on wood, 43 x 34 cm Accademia Carrara, Bergamo
84559  
RAFFAELLO Sanzio, St Sebastian
 
 St Sebastian   Date between 1501(1501) and 1502(1502) Medium Oil on wood cjr
88409  
RAFFAELLO Sanzio, St Sebastian
 
 St Sebastian   between 1501(1501) and 1502(1502) Medium Oil on wood cyf
55705  
RAFFAELLO Sanzio, Story
 
 Story   mk243 1518-1519
51296  
RAFFAELLO Sanzio, Study for the Disputa
 
 Study for the Disputa   1509 Brush and white highlighting over stylus underdrawing, 280 x 285 mm
55713  
RAFFAELLO Sanzio, Study of bury
 
 Study of bury   mk243 1507 182x205cm
55719  
RAFFAELLO Sanzio, Study of Mary
 
 Study of Mary   mk243
63815  
RAFFAELLO Sanzio, The Adoration of the Magi
 
 The Adoration of the Magi   1502-03 Oil on canvas, 27 x 150 cm Pinacoteca, Vatican Extant drawings demonstrate the tremendous amount of thought which Raphael put into the realization of the Oddi Altarpiece and some details, notably the highly individual faces of the Apostles and the serene landscape in the background, are quite masterful. But the most meaningful passages are found in the predella scenes: the vast space which opens out beneath the colonnades of the Annunciation; the highly animated Adoration of the Magi; and the free quality of the atmosphere in the Presentation in the Temple, which foreshadows the extraordinary spatial intuition of some of the artist's future Vatican compositions.Artist:RAFFAELLO Sanzio Title: The Adoration of the Magi (Oddi altar) Painted in 1501-1550 , Italian - - painting : religious
8710  
RAFFAELLO Sanzio, The Adoration of the Magi (Oddi altar) set
 
 The Adoration of the Magi (Oddi altar) set   1502-03 Oil on canvas, 27 x 150 cm Pinacoteca, Vatican
8747  
RAFFAELLO Sanzio, The Alba Madonna
 
 The Alba Madonna   1511 Oil on canvas, diameter 98 cm National Gallery of Art, Washington

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RAFFAELLO Sanzio
Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,



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