Las óleos de todo Raffaello


ID Image  Painting (From A to Z)       Details 
30966  
Raffaello, Bathazar Castiglione,ecrivain et deplomate
 
 Bathazar Castiglione,ecrivain et deplomate   mk70 Toile H.0.82 L.0.67 Paris,Muee du Louvre
51253  
Raffaello, Jacob's Dream
 
 Jacob's Dream   1518-19 Fresco Loggia on the second floor
51227  
Raffaello, Madonna and Child with the Infant St John
 
 Madonna and Child with the Infant St John   1508 Tempera and oil on wood, 28,5 x 21,5 cm
51224  
Raffaello, Madonna of Belvedere
 
 Madonna of Belvedere   1506 Oil on wood, 113 x 88 cm
30964  
Raffaello, Portrait de l'artiste avec un ami
 
 Portrait de l'artiste avec un ami   mk70 Toile H.0.99 L.0.83 Paris,Musee du Louvre
30965  
Raffaello, Saint-Michel
 
 Saint-Michel   mk70 Bois H.0.30 L.0.25 Paris,Musee du Louvre
51223  
Raffaello, St George Fighting the Dragon
 
 St George Fighting the Dragon   1505 Oil on wood, 32 x 27 cm
51225  
Raffaello, The Canigiani Madonna
 
 The Canigiani Madonna   1507 Oil on wood, 131 x 107 cm
51221  
Raffaello, View of the Stanza della Segnatura
 
 View of the Stanza della Segnatura   1510-11

Raffaello
Italian painter , 1483-1520 was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the 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. 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.



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