Toutes peintures ā l'huile d'RAFFAELLO Sanzio


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ID Image Painting(From A to Z)    Details 
86060  
RAFFAELLO Sanzio, The annunciation
 
 The annunciation   Date between 1502(1502) and 1503(1503) Medium Deutsch: Öltempera auf Holz, auf Leinwand xbertragen. English: Tempera grassa (egg-oil) on canvas. Español: Óleo sobre lienzo. Français : Tempera grassa (xmulsion x lxœuf et x lxhuile) sur bois transfxrxe sur toile. Italiano: Tempera grassa su tavola trasportata su tela. Dimensions Height: 27 cm (10.6 in). Width: 50 cm (19.7 in). cjr
90119  
RAFFAELLO Sanzio, The annunciation
 
 The annunciation   between 1502(1502) and 1503 cyf
8709  
RAFFAELLO Sanzio, The Annunciation (Oddi altar, predella) t
 
 The Annunciation (Oddi altar, predella) t   1502-03 Oil on canvas, 27 x 50 cm Pinacoteca, Vatican
52239  
RAFFAELLO Sanzio, The Baptism of Constantine
 
 The Baptism of Constantine   1520-24 Fresco Stanza di Constantino
52241  
RAFFAELLO Sanzio, The Battle at Pons Milvius
 
 The Battle at Pons Milvius   1520-24
63798  
RAFFAELLO Sanzio, The Battle of Ostia
 
 The Battle of Ostia   1514-15 Fresco, width at base 770 cm Stanza dell'Incendio di Borgo, Palazzi Pontifici, Vatican In AD 849 the Arab fleet attacked the papal forces, but was destroyed by a storm. On the left, Leo IV, in the figure of Leo X, can be seen giving thanks. The scene is probably a reference to Leo's intentions to mount a crusade against the Turks. The fresco is the work of workshop assistants.Artist:RAFFAELLO Sanzio Title: The Battle of Ostia Painted in 1501-1550 , Italian - - painting : religious
8730  
RAFFAELLO Sanzio, The Blessing Christ
 
 The Blessing Christ   c. 1506 Oil on wood, 30 x 25 cm Pinacoteca Tosio Martinengo, Brescia
51252  
RAFFAELLO Sanzio, The Cardinal Virtues
 
 The Cardinal Virtues   1511 Fresco, width at the base 660 cm
63808  
RAFFAELLO Sanzio, The Cardinal Virtues
 
 The Cardinal Virtues   1511 Fresco, width at the base 660 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The lunette above the scenes Justinian Presenting the Pandects to Trebonianus (left) and Gregory IX Approving the Decretals (right) represents the Cardinal Virtues. Fortitude can be recognized by her attribute, the lion; Wisdom, who has two faces, by her mirror; and Temperance by the reins. Fortitude is holding an oak branch, a reference to the pope's family name, Rovere, meaning "oak."Artist:RAFFAELLO Sanzio Title: The Cardinal Virtues Painted in 1501-1550 , Italian - - painting : religious
51247  
RAFFAELLO Sanzio, The Coronation of Charlemagne
 
 The Coronation of Charlemagne   1516-17 Fresco
51245  
RAFFAELLO Sanzio, The Creation of the Animals
 
 The Creation of the Animals   1518-19 Fresco Loggia on the second floor
86394  
RAFFAELLO Sanzio, The Crowning of the Virgin
 
 The Crowning of the Virgin   Date between 1502(1502) and 1503(1503) Medium Oil on canvas, transferred from panel Dimensions Height: 267 cm (105.1 in). Width: 163 cm (64.2 in). cjr
8708  
RAFFAELLO Sanzio, The Crowning of the Virgin (Oddi altar)
 
 The Crowning of the Virgin (Oddi altar)   1502-03 Oil on canvas, 267 x 163 cm Pinacoteca, Vatican
51288  
RAFFAELLO Sanzio, The Death of Ananias
 
 The Death of Ananias   1515 Tempera on paper
88331  
RAFFAELLO Sanzio, The Engagement of Virgin Mary
 
 The Engagement of Virgin Mary   1504(1504) Medium Oil on roundheaded panel cyf
8740  
RAFFAELLO Sanzio, The Entombment (detail) st
 
 The Entombment (detail) st   1507 Oil on wood Galleria Borghese, Rome
8739  
RAFFAELLO Sanzio, The Entombment sys
 
 The Entombment sys   1507 Oil on wood, 184 x 176 cm Galleria Borghese, Rome
51243  
RAFFAELLO Sanzio, The Expulsion of Heliodorus from the Temple
 
 The Expulsion of Heliodorus from the Temple   1511-12 Fresco, width at the base 750 cm
63792  
RAFFAELLO Sanzio, The Expulsion of Heliodorus from the Temple
 
 The Expulsion of Heliodorus from the Temple   1511-12 Fresco Stanza di Eliodoro, Palazzi Pontifici, Vatican Raphael's depiction of the Pope Julius II in the fresco is as penetrating as the London portrait of Julius. According to Vasari, the reason Raphael was so well-liked was probably because he portrayed so many people at the papal court to their satisfaction in these frescoes.Artist:RAFFAELLO Sanzio Title: The Expulsion of Heliodorus from the Temple (detail) Painted in 1501-1550 , Italian - - painting : religious
63793  
RAFFAELLO Sanzio, The Expulsion of Heliodorus from the Temple
 
 The Expulsion of Heliodorus from the Temple   1511-12 Fresco, width of detail: 230 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican In the centre, the expanse of the wide nave, illuminated by the reflections of light in the vault, is a more effective space-determining motif than the large patches of blue sky which appeared through the coffered ceiling in the School of Athens.Artist:RAFFAELLO Sanzio Title: The Expulsion of Heliodorus from the Temple (detail) Painted in 1501-1550 , Italian - - painting : religious
63790  
RAFFAELLO Sanzio, The Fire in the Borgo
 
 The Fire in the Borgo   1514 Fresco Stanza dell'Incendio di Borgo, Palazzi Pontifici, Vatican The group in the left foreground, for example (made up of an old man on the shoulders of a young man, and a child), may be drawn from the episode of the Aeneid in which Aeneas escapes with his father, Anchises and his son, Ascanius. The nude descending from the wall at left recalls the heroic figures of Michelangelo.Artist:RAFFAELLO Sanzio Title: The Fire in the Borgo (detail) Painted in 1501-1550 , Italian - - painting : religious
63791  
RAFFAELLO Sanzio, The Fire in the Borgo
 
 The Fire in the Borgo   1514 Fresco Stanza dell'Incendio di Borgo, Palazzi Pontifici, Vatican The figures in the foreground are desperately trying to put out the fire.Artist:RAFFAELLO Sanzio Title: The Fire in the Borgo (detail) Painted in 1501-1550 , Italian - - painting : religious
86971  
RAFFAELLO Sanzio, The Granduca Madonna
 
 The Granduca Madonna   1504(1504) Medium Oil on wood cyf
8722  
RAFFAELLO Sanzio, The Granduca Madonna at
 
 The Granduca Madonna at   1504 Oil on wood, 84 x 55 cm Galleria Palatina (Palazzo Pitti), Florence
51287  
RAFFAELLO Sanzio, The Handing-over the Keys
 
 The Handing-over the Keys   1515 Tempera on paper
84041  
RAFFAELLO Sanzio, The Holy Family
 
 The Holy Family   Date 1518(1518) Medium Oil on canvas transferred from wood cjr
85310  
RAFFAELLO Sanzio, The Holy Family
 
 The Holy Family   Date 1518(1518) Medium Oil on canvas transferred from wood Dimensions Height: 207 cm (81.5 in). Width: 140 cm (55.1 in). cjr
87902  
RAFFAELLO Sanzio, The Holy Family
 
 The Holy Family   1518(1518) Medium Oil on canvas transferred from wood cyf
51248  
RAFFAELLO Sanzio, The Judgment of Solomon
 
 The Judgment of Solomon   1518-19 Fresco Loggia on the second floor
63803  
RAFFAELLO Sanzio, The Judgment of Solomon
 
 The Judgment of Solomon   1510-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The story from the Old Testament tells how two women came to Solomon to settle a dispute about which one was the mother of a child. When Solomon ordered the baby to be cut in half, one of the women agreed to give up the child. Solomon recognized her as the true mother. The man holding the sword derives from a classical figure, either Castor or Pollux from the Quirinal, an ancient Roman palace.Artist:RAFFAELLO Sanzio Title: The Judgment of Solomon (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
63805  
RAFFAELLO Sanzio, The Liberation of St Peter
 
 The Liberation of St Peter   1514 Fresco, width at base 660 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican The story in the New Testament says that King Herod took Peter prisoner and intended to have him killed. In prison the Apostle was chained to two guards, but an angel of the Lord freed him despite the close watch. The fresco is dated 1514 on two painted tablets in the picture. The composition of this fresco clearly reflects the order and unity of the Mass of Bolsena. But the story is broken down into three distinct episodes, taken from the Acts of the Apostles. The first shows the dismay of the guards; the second the appearance of the Angel of Freedom in the saint's cell; the third, the bewildered Peter led by the hand of the divine messenger. The barred cell is on an upper level (like the altar in the Mass) and is reached by steps to the left and right. A group of agitated figures occupies the stairway at the left. Here, a soldier - whose armor reflects the light of the moon asks his sleepy and bewildered comrades what is going on. At right, the angel leads the stunned and still-sleepy St Peter past another sleeping guard. Here, for the first time, Raphael attempts a "night effect", using both the natural light of the moon and the autonomous light of the angel. Raphael's assistants played a greater role in painting the Eliodoro cycle than in the Stanza della Segnatura. This is clearly a consequence of the growing number of commissions which the Romans granted to Raphael. The hand of Giulio Romano, one of his most faithful pupils, is visible in the episode showing the Liberation of St Peter. This painting is the last fresco that can be attributed to Raphael with any certainty. The large cycles which follow (except for the Sibyls of Santa Maria della Pace) were entrusted mainly to assistants.Artist:RAFFAELLO Sanzio Title: The Liberation of St Peter Painted in 1501-1550 , Italian - - painting : religious
63806  
RAFFAELLO Sanzio, The Liberation of St Peter
 
 The Liberation of St Peter   1514 Fresco, width of detail: 235 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican The story in this fresco is broken down into three distinct episodes, taken from the Acts of the Apostles. The second (in the centre) shows the appearance of the Angel of Freedom in the saint's cell.Artist:RAFFAELLO Sanzio Title: The Liberation of St Peter (detail) Painted in 1501-1550 , Italian - - painting : religious
51255  
RAFFAELLO Sanzio, The Loggetta of Cardinal Bibbiena
 
 The Loggetta of Cardinal Bibbiena   1516-17 Fresco Palazzi Pontifici
51240  
RAFFAELLO Sanzio, The Loggia of Psyche
 
 The Loggia of Psyche   1517 Fresco Villa Farnesina
63788  
RAFFAELLO Sanzio, The Madonna of Foligno
 
 The Madonna of Foligno   1511-12 Oil on canvas Pinacoteca, Vatican The papal secretary Sigismondo de'Conti donated this ex voto altarpiece in 1511. A meteorite had fallen on Conti's house, a catastrophe Conti himself survived. Raphael portrays this event in the background.Artist:RAFFAELLO Sanzio Title: The Madonna of Foligno (detail) Painted in 1501-1550 , Italian - - painting : religious
51246  
RAFFAELLO Sanzio, The Mass at Bolsena
 
 The Mass at Bolsena   1512 Fresco width at the base 660 cm
63799  
RAFFAELLO Sanzio, The Mass at Bolsena
 
 The Mass at Bolsena   1512 Fresco, width of detail: 141 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican As the priest raises the Host, two devotees lean over the semicircular screen which forms the background of the scene. This is a further attempt by Raphael to represent figures in a more dynamic way.Artist:RAFFAELLO Sanzio Title: The Mass at Bolsena (detail) Painted in 1501-1550 , Italian - - painting : religious
63800  
RAFFAELLO Sanzio, The Mass at Bolsena
 
 The Mass at Bolsena   1512 Fresco Stanza di Eliodoro, Palazzi Pontifici, Vatican Julius II had founded the Swiss Guard as a military elite in May 1510, and granted them the distinction of their own costume. The Guard had played a vital role in a victory over French forces, who had occupied parts of the Papal State. The pope was probably bestowing an honour on them for that loyal service by letting Raphael portray some of their important representatives in the fresco, thus giving them pride of place in his audience chamber.Artist:RAFFAELLO Sanzio Title: The Mass at Bolsena (detail) Painted in 1501-1550 , Italian - - painting : religious
51251  
RAFFAELLO Sanzio, The Meeting between Leo the Great and Attila
 
 The Meeting between Leo the Great and Attila   1514 Fresco
63776  
RAFFAELLO Sanzio, The Miraculous Draught of Fishes
 
 The Miraculous Draught of Fishes   1519 Tapestry in silk and wool, with silver-gilt threads, height 490 cm, width 441 cm Musei Vaticani, Vatican The tapestry was made by Pieter van Aelst, after a cartoon by Raphael Sanzio. Luke (5:1-11) recounts how Jesus, sitting in a boat, began teaching the multitudes on the shore. Then he asked Simon Peter to head towards deep water and cast the fishing nets again. Peter obeyed and they caught such a large amount of fish, that the nets began to break. They called for help and they filled both boats, so that they began to sink. Simon Peter fell down at Jesus' feet, saying "Depart from me, for I am a sinful man, O Lord!". For amazement had seized him and also James, son of Zebedee, his brother John and all their companions, because of the catch of fish which they had taken. And Jesus said to Simon "Do not fear, from now on you will be catching men." In the background, one can recognize the Vatican hill, with the towers along the wall of Leo IV, and Saint Peter's under construction. The cranes in the foreground, symbols of vigilance, are contrasted with the seagulls that allude to sin and apostasy. In the lower border two episodes in the life of Giovanni de'Medici (Pope Leo X) are depicted: on the left, his retinue, as he arrives in Rome for the conclave. On the right, the election of March 11, 1513. The border simulates a relief and is executed in chiaroscuro. Raphael's designs revolutionized the tradition of tapestry weaving, for they required a faithful rendering of atmosphere, light, textures, and pictorial form that had never been seen in this medium before. Here, for the first time, the usual monochrome background, or one depicting flowers and small ornaments, was abandoned in favour of a genuine pictorial space, in which the figures could move about.Artist:RAFFAELLO Sanzio Title: The Miraculous Draught of Fishes Painted in 1501-1550 , Italian - - graphics : religious
51257  
RAFFAELLO Sanzio, The Parnassus
 
 The Parnassus   1509-10 Fresco, width at base 670 cm
84138  
RAFFAELLO Sanzio, The presentation in the temple
 
 The presentation in the temple   Date between 1502(1502) and 1503(1503) Medium Deutsch: Öltempera auf Holz, auf Leinwand xbertragen. English: Tempera grassa (egg-oil) on canvas. Español: Óleo sobre lienzo. Français : Tempera grassa (xmulsion x lxœuf et x lxhuile) sur bois transfxrxe sur toile. Italiano: Tempera grassa su tavola trasportata su tela. Dimensions Height: 27 cm (10.6 in). Width: 50 cm (19.7 in). cjr
87960  
RAFFAELLO Sanzio, The presentation in the temple
 
 The presentation in the temple   Date between 1502(1502) and 1503 cyf
8711  
RAFFAELLO Sanzio, The Presentation in the Temple (Oddi altar, predella)
 
 The Presentation in the Temple (Oddi altar, predella)   1502-03 Oil on canvas, 27 x 50 cm Pinacoteca, Vatican
63822  
RAFFAELLO Sanzio, The School of Athens
 
 The School of Athens   1509 Fresco Stanza della Segnatura, Palazzi Pontifici, Vatican Geometry is represented by Euclid, who is explaining to his pupils a geometric diagram he has drawn on a slate. It is thought that Raphael was here portraying the architect Bramante.Artist:RAFFAELLO Sanzio Title: The School of Athens (detail) Painted in 1501-1550 , Italian - - painting : religious
63823  
RAFFAELLO Sanzio, The School of Athens
 
 The School of Athens   1509 Fresco Stanza della Segnatura, Palazzi Pontifici, Vatican Pythagoras, representing Arithmetic, is sitting in the foreground. The two men who are jostling to look over his shoulder recall figures in Leonardo da Vinci's unfinished Adoration of the Magi in the Uffizi. Raphael had occasion to study Leonardo's picture during his stay in Florence.Artist:RAFFAELLO Sanzio Title: The School of Athens (detail) Painted in 1501-1550 , Italian - - painting : religious
51244  
RAFFAELLO Sanzio, The Separation of Land and Water
 
 The Separation of Land and Water   1518-19 Fresco Loggia on the second floor
51239  
RAFFAELLO Sanzio, The Sibyls
 
 The Sibyls   c. 1514 Fresco, width at base 615 cm
63784  
RAFFAELLO Sanzio, The Sibyls
 
 The Sibyls   1514 Fresco Santa Maria della Pace, Rome The detail shows the Tiburtine Sibyl.Artist:RAFFAELLO Sanzio Title: The Sibyls (detail) Painted in 1501-1550 , Italian - - painting : religious
63779  
RAFFAELLO Sanzio, The Sistine Madonna
 
 The Sistine Madonna   1513-14 Oil on canvas Gem?ldegalerie, Dresden Generations of visitors to the Gem?ldegalerie in Dresden have been deeply impressed by the way in which Raphael portrayed the Madonna in this painting. It has been reproduced over and over again, and almost everyone is familiar with the putti leaning on the balustrade.Artist:RAFFAELLO Sanzio Title: The Sistine Madonna (detail) Painted in 1501-1550 , Italian - - painting : religious
89282  
RAFFAELLO Sanzio, The Tempi Madonna
 
 The Tempi Madonna   1508(1508) Medium oil on wood cyf
8720  
RAFFAELLO Sanzio, The Three Graces F
 
 The Three Graces F   1504-05 Oil on panel, 17 x 17 cm Mus??e Cond??, Chantilly
63783  
RAFFAELLO Sanzio, The Triumph of Galatea
 
 The Triumph of Galatea   1511 Fresco, 295 x 225 cm Villa Farnesina, Rome The Sienese Banker, Agostini Chigi, played a very important role in the cultural and artistic activities which flourished around Julius II. His house was built on the outskirts of Rome in 1509-1510, and was designed as a model of luxury and elegance. He commissioned the most famous artists of the time, Baldassarre Peruzzi, Sebastiano Luciani (later called Sebastiano del Piombo) and Raphael himself to decorate it. All three painted frescoes based on classical mythology in Chigi's house (which was later acquired by the Farnese family and came to be known as "La Farnesina"). As subject Raphael chose a verse from a poem by the Florentine Angelo Poliziano which had also helped to inspire Botticelli's 'Birth of Venus'. These lines describe how the clumsy giant Polyphemus sings a love song to the fair sea-nymph Galatea and how she rides across the waves in a chariot drawn by two dolphins, laughing at his uncouth song, while the gay company of other sea-gods and nymphs is milling round her. Raphael's fresco shows Galatea with her gay companions; the giant is depicted in a fresco by Sebastiano del Piombo which stands to the left of Raphael's Galatea. However long one looks at this lovely and cheerful picture, one will always discover new beauties in its rich and intricate composition. Every figure seems to correspond to some other figure, every movement to answer a counter-movement. To start with the small boys with Cupid's bows and arrows who aim at the heart of the nymph: not only do those to right and left echo each other's movements, but the boy swimming beside the chariot corresponds to the one flying at the top of the picture. It is the same with the group of sea-gods which seems to be 'wheeling' round the nymph. There are two on the margins, who blow on their sea-shells, and two pairs in front and behind, who are making love to each other. But what is more admirable is that all these diverse movements are somehow reflected and taken up in the figure of Galatea herself. Her chariot had been driving from left to right with her veil blowing backwards, but, hearing the strange love song, she turns round and smiles, and all the lines in the picture, from the love-gods' arrows to the reins she holds, converge on her beautiful face in the very centre of the picture. By these artistic means Raphael has achieved constant movement throughout the picture, without letting it become restless or unbalanced. It is for this supreme mastery of arranging his figures, this consummate skill in composition, that artists have admired Raphael ever since. Just as Michelangelo was found to have reached the highest peak in the mastery of the human body, Raphael was seen to have accomplished what the older generation had striven so hard to achieve: the perfect and harmonious composition of freely moving figures. There was another quality in Raphael's work that was admired by his contemporaries and by subsequent generations - the sheer beauty of his figures. When he had finished the 'Galatea', Raphael was asked by a courtier where in all the world he had found a model of such beauty. He replied that he did not copy any specific model but rather followed "a certain idea" he had formed in his mind. To some extent, then, Raphael, like his teacher Perugino, had abandoned the faithful portrayal of nature which had been the ambition of so many Quattrocento artists. He deliberately used an imagined type of regular beauty. If we look back to the time of Praxiteles, we remember how what we call an "ideal" beauty grew out of a slow approximation of schematic forms to nature. Now the process was reversed. Artists tried to modify nature according to the idea of beauty they had formed when looking at classical statues - they "idealized" the model. It was a tendency not without its dangers, for, if the artist deliberately "improves on" nature, his work may easily look mannered or insipid. But if we look once more at Raphael's work, we see that he, at any rate, could idealize without any loss of vitality and sincerity in the result. There is nothing schematic or calculated in Galatea's loveliness. She is an inmate of a brighter world of love and beauty - the world of the classics as it appeared to its admirers in sixteenth-century Italy.Artist:RAFFAELLO Sanzio Title: The Triumph of Galatea Painted in 1501-1550 , Italian - - painting : mythological
8745  
RAFFAELLO Sanzio, The Triumph of Galatea (detail)
 
 The Triumph of Galatea (detail)   1511 Fresco Villa Farnesina, Rome
8746  
RAFFAELLO Sanzio, The Triumph of Galatea (detail)
 
 The Triumph of Galatea (detail)   1511 Fresco Villa Farnesina, Rome
8736  
RAFFAELLO Sanzio, The Virgin and Child with Saint John the Baptist (La Belle Jardinire)  af
 
 The Virgin and Child with Saint John the Baptist (La Belle Jardinire) af   1507 Oil on wood, 122 x 80 cm Mus??e du Louvre, Paris
55639  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1502-1503 Oil on canvas 267x163cm
55669  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1507 122x80cm
55675  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1510 Oil on canvas
55678  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1508 81x57cm
55682  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1510-1511 68x48cm
55684  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1511 160x126cm Oil on board
55686  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1511-1512 120x90cm
55687  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1511-1512 320x194cm Oil on canvas
55688  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1511-1512 Oil on canvas
55700  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1513-1514 265x196cm Oil on canvas
55711  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1504
55714  
RAFFAELLO Sanzio, The virgin mary
 
 The virgin mary   mk243 1506
55668  
RAFFAELLO Sanzio, The virgin mary  and John
 
 The virgin mary and John   mk243 1507 107x77cm
55650  
RAFFAELLO Sanzio, The virgin mary  on the grass
 
 The virgin mary on the grass   mk243 1506 113x88cm Oil on board
55638  
RAFFAELLO Sanzio, The virgin mary and christ
 
 The virgin mary and christ   mk243 1496-1497 97x67cm
55715  
RAFFAELLO Sanzio, The virgin mary and John
 
 The virgin mary and John   mk243 17.3x21cm
55690  
RAFFAELLO Sanzio, The virgin mary and younger John
 
 The virgin mary and younger John   mk243 1514 66x51cm Oil on canvas
55692  
RAFFAELLO Sanzio, The virgin mary in the chair
 
 The virgin mary in the chair   mk243 1514 Oil on board
55693  
RAFFAELLO Sanzio, The virgin mary in the chair
 
 The virgin mary in the chair   mk243 1514 Oil on board
88341  
RAFFAELLO Sanzio, The Vision of Ezekiel
 
 The Vision of Ezekiel   1518(1518) Medium Oil on wood cyf
63819  
RAFFAELLO Sanzio, Theological Virtues
 
 Theological Virtues   1507 Oil on wood, 16 x 44 cm (each) Pinacoteca, Vatican The three compositions (Faith, Hope and Charity), executed in a delicate monochrome, formed the predella belonging to the Entombment now in the Borghese Gallery, Rome. Both the main panel and the predella were carried from Perugia to Rome by Pope Paul V. They were replaced by copies in 1608.Artist:RAFFAELLO Sanzio Title: Theological Virtues Painted in 1501-1550 , Italian - - painting : mythological
55663  
RAFFAELLO Sanzio, Theology
 
 Theology   mk243 1508
55667  
RAFFAELLO Sanzio, Theology
 
 Theology   mk243 1507 16x44cm
63796  
RAFFAELLO Sanzio, Theology
 
 Theology   1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican Theology's veil is white, her cloak green, and her dress red, the colours of the theological Virtues (Faith, Hope, and Charity). She is holding a book in her left hand and is pointing with her right hand at the fresco of the Disputa below. Two putti are holding blue tablets with the golden inscriptions Divinar, Rer and Notitia ("Knowledge of Divine Things").Artist:RAFFAELLO Sanzio Title: Theology (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
55647  
RAFFAELLO Sanzio, Three woman
 
 Three woman   mk243 1504-1505 17x17cm Oil on board
57240  
RAFFAELLO Sanzio, Together with a friend of a self-portrait
 
 Together with a friend of a self-portrait   mk255 for in 1519. 0.99 x 0.83 meters canvas. Paris Louvre
51242  
RAFFAELLO Sanzio, View of the Stanza di Eliodoro
 
 View of the Stanza di Eliodoro   c. 1512
55642  
RAFFAELLO Sanzio, Virgin Mary
 
 Virgin Mary   mk243 1504
55653  
RAFFAELLO Sanzio, Virgin Mary and her son
 
 Virgin Mary and her son   mk243 1506 274x152cm
51249  
RAFFAELLO Sanzio, Vision of the Cross
 
 Vision of the Cross   1520-24 Fresco Stanza di Constantino
63807  
RAFFAELLO Sanzio, Vision of the Cross
 
 Vision of the Cross   1520-24 Fresco Stanza di Constantino, Palazzi Pontifici, Vatican The view of the "Tomb-pyramid of Romulus", which is no longer there, and the so-called Citadel of Sant'Angelo together with the bridge of Sant'Angelo, is an example of Raphael's interest in ancient Rome. The view Raphael has chosen more or less matches the view he had of Rome in 1520 from his Vatican loggie, which are located right behind the wall painted with the fresco. The Citadel of Sant'Angelo appears to be Raphael's reconstruction of the original ancient building, the erstwhile Hadrian Mausoleum, as it might have looked in the days of Emperor Constantine. By depicting this view of ancient Rome, Raphael is suggesting to anyone viewing that fresco that Constantine experienced his vision in the precise place where the Vatican State is now located. By this means Raphael was able to confirm in a very subtle manner, that the Popes had established themselves in Rome - more specifically - in the Vatican.Artist:RAFFAELLO Sanzio Title: Vision of the Cross (detail) Painted in 1501-1550 , Italian - - painting : historical
88268  
RAFFAELLO Sanzio, Visitation
 
 Visitation   1517(1517) Medium Oil on canvas Dimensions 200 x 145 cm (78.7 x 57.1 in) cjr
51295  
RAFFAELLO Sanzio, Waist-length Figure of a Young Woman
 
 Waist-length Figure of a Young Woman   1506 Pen and ink over stylus underdrawing, . 262 x 189 mm
55694  
RAFFAELLO Sanzio, Ware
 
 Ware   mk243 1514-1515
55703  
RAFFAELLO Sanzio, Wearing veil woman
 
 Wearing veil woman   mk243 1516 Oil on board
55641  
RAFFAELLO Sanzio, Wedding
 
 Wedding   mk243 1504 170x117cm Oil on board
63780  
RAFFAELLO Sanzio, Woman with a Veil
 
 Woman with a Veil   1516 Oil on canvas, 82 x 60,5 cm Galleria Palatina (Palazzo Pitti), Florence Tradition identifies the subject with "la Fornarina", the woman whom the painter loved in his last years and whose face reappeared in both his paintings (e.g. in the Sistine Madonna) and those of his followers. However, the woman, has never been decisively identified. She seems to represent Raphael's ideal of beauty at this time. The painting shows greater attention to colour and to the rendering of skin and clothes in respect to previous female portraits. The regular oval of the young woman's face stands out against the dark background and her eyes hold an intense and penetrating look. The silk of her sleeves contrasts with her ivory-like skin, and is closely associated with the thin pleating of the dress, held up by a corset with golden embroidery. As in the portrait of Castiglione, the figure radiates a sense of great dignity and restraint. But greys and light-blues dominated the portrait of Castiglione: here the warm tonalities of white and gold take over. Raphael is preparing the wider colour range and the more complex composition which will be expressed in the Portrait of Leo X.Artist:RAFFAELLO Sanzio Title: Woman with a Veil (La Donna Velata) Painted in 1501-1550 , Italian - - painting : portrait
8727  
RAFFAELLO Sanzio, Young Man with an Apple
 
 Young Man with an Apple   1505 Oil on wood, 47 x 35 cm Galleria degli Uffizi, Florence
88336  
RAFFAELLO Sanzio, Young Man with an Apple
 
 Young Man with an Apple   1505(1505) Medium Oil on wood cyf

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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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