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RAFFAELLO Sanzio
Study of bury
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mk243
1507
182x205cm
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RAFFAELLO Sanzio
The virgin mary
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mk243
1506
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RAFFAELLO Sanzio
The virgin mary and John
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mk243
17.3x21cm
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RAFFAELLO Sanzio
Kill dragon and Georgian
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nk243
1505
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RAFFAELLO Sanzio
Christ Bury
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mk243
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RAFFAELLO Sanzio
Christ Bury
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mk243
1507
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RAFFAELLO Sanzio
Study of Mary
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mk243
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RAFFAELLO Sanzio
Argue
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mk243
1509
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RAFFAELLO Sanzio
Father and The virgin mary
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mk243
1508
28.4x19.1cm
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RAFFAELLO Sanzio
Insitute
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mk243
1520
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RAFFAELLO Sanzio
Construction
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mk243
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RAFFAELLO Sanzio
Barr reaches Saar Kasi the Leo portrait
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mk255 for in the years 1514-1515 canvas 0.82 x 0.67 meters. Paris Louvre
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RAFFAELLO Sanzio
Together with a friend of a self-portrait
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mk255 for in 1519. 0.99 x 0.83 meters canvas. Paris Louvre
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RAFFAELLO Sanzio
Roveredo portrait
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mk261 Florence about 1504 oil painting of wood 47.3 x 35.3 cm
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RAFFAELLO Sanzio
Double Portrait
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77 x 111 cm Galleria Doria Pamphilj, Rome This austere double portrait of great stylistic restraint, set against a green background, in which the two figures, perhaps intentionally conceived by the artist in the manner of Roman busts, seem not to communicate with one another, has never roused a great deal of enthusiasm on the part of critics. In fact, no one has ever seriously studied of this painting and, even though it is now almost universally agreed to be the work of Raphael, the identity of the two figures has remained highly debatable. Some have seen them as Luther and Calvin (Pamphilj inventory of circa 1684), or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurists (inventory of Olimpia Aldobrandini ante 1665), or as Andrea Doria and Christopher Columbus, an interesting idea, or finally, as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature. We know from a letter written by Pietro Bembo on April 3, 1516, to Cardinal Bibbiena, that Raphael, Castiglione, Navagero and Beaziano had planned to make a trip to Tivoli together the following day. It is likely that the artist intended to paint a dual portrait of the two men: Andrea Navagero (1453-1529; humanist and man of letters, since 1515 librarian of St Mark's, who left Rome at the end of April for Venice, so his portrait would have to have been finished before his departure) and Agostino Beaziano (born in Treviso around the last decade of the fifteenth century and died in 1549, he started on a career in diplomacy through the intercession of Bembo, who took him around so that he could establish links with the most famous personages on the Roman scene). It is also likely that the painting was intended for their common friend Bembo, and it is in fact recorded as belonging to him in 1538, when he gave it to the surviving member of the pair, Beaziano, begging him "to take care that [the two heads] do not get spoilt." These facts are confirmed by the contemporary Marcantonio Michiel, who adds that the double portrait was painted on panel. This has led some critics to reject the Doria Pamphilj picture, considering it to be a copy on canvas. Yet it is easy to eliminate this objection, given that the picture here, already listed in the collection of Cardinal Pietro Aldobrandini in 1603 (as "Two portraits both the work of Raffaelle Da Urbino," and thus without any reference to the identity of the figures), later passed into that of Olimpia Aldobrandini Pamphilj, where it was cited before 1665 as canvas applied to panel. The wooden support was later removed, leaving the work in its present state. It would seem therefore correct to identify this picture (of which there are two copies with separate portraits in the Prado) as the Portrait of Navagero and Beaziano, painted by Raphael in April 1516 as a mark of their friendship. However a degree of uncertainty must remain, especially with regard to the age of the figures, which appears to be greater than that of the two men at the time, about thirty-three and twenty-six, respectively. In addition, other portraits that are definitely of Andrea Navagero, such as the 1526 one by Titian's school in Berlin or the one in a Roman collection, raise further doubts about the identification. The difficulties in judging similarities of appearance are well known, especially where historical personages are concerned. So the problem of Raphael's Double Portrait in the Galleria Doria Pamphilj remains unsolved
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RAFFAELLO Sanzio
Madonna and Child with the Infant St John
new21/RAFFAELLO Sanzio-256378.jpg
1508 Tempera and oil on wood Museum of Fine Arts, Budapest Raphael, perhaps the most popular and widely appreciated master of Renaissance Italy, was a man of many talents. He succeeded Bramante as architect of St Peter's and was surveyor of excavations of the antiquities of Ancient Rome, as well as producing monumental frescoes and outstanding religious compositions and portraits. It is as a painter of Madonnas, however, that he is most widely known, and his unrivalled popularity with succeeding generations has been mainly due to the harmony and beauty of these paintings. He depicted Mary as a heavenly being who was yet flesh and blood: in half-length or full-length pictures she is seen enthroned or floating through the heavens, against a landscape background or in some interior scene, alone with her Child or in the company of saints
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RAFFAELLO Sanzio
The Miraculous Draught of Fishes
new21/RAFFAELLO Sanzio-323643.jpg
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
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RAFFAELLO Sanzio
Cardinal Tommaso Inghirami
new21/RAFFAELLO Sanzio-443694.jpg
1515-16 Oil on wood, 91 x 61 cm Galleria Palatina (Palazzo Pitti), Florence This portrait shows the eminent man of letters and librarian of Pope Leo X with an absorbed expression, in the act of writing. It is assumed that Inghirami worked with Raphael on the program of the Stanza della Segnatura. The portrait is an exceptional work for its fullness of vision and vibrant colours, without being excessively grandiose or dramatic. There are two extant versions: one in Boston and the other in Palazzo Pitti. Each has been considered the original at one time or another, but the dispute is useless, since both are highly coherent and the differences between them are slight: the physical structure of the Cardinal is more massive in the Boston portrait and leaner in the Pitti one. It is accepted by some experts that both versions are the work of Raphael, the Boston version being the earlier from 1512-14. The red of the Cardinal's clothing dominates both. Inghirami's crossed eyes, a physical defect which the artist does not leave out, acquire a discreet tone which almost dissolves in the inspired pose of the figure. Without idealizing, but also without falling into unpleasant naturalism, Raphael maintains a harmonic equilibrium between realism and dignified celebration, a primary characteristic of portrait painting.Artist:RAFFAELLO Sanzio Title: Cardinal Tommaso Inghirami Painted in 1501-1550 , Italian - - painting : portrait
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RAFFAELLO Sanzio
St Michael and the Satan
new21/RAFFAELLO Sanzio-769993.jpg
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
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RAFFAELLO Sanzio
The Sistine Madonna
new21/RAFFAELLO Sanzio-894294.jpg
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
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RAFFAELLO Sanzio
Woman with a Veil
new21/RAFFAELLO Sanzio-837396.jpg
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
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RAFFAELLO Sanzio
Madonna dell'Impannata
new21/RAFFAELLO Sanzio-379685.jpg
1513-14 Oil on wood, 158 x 125 cm Galleria Palatina (Palazzo Pitti), Florence In the mid-1510s Raphael had passed from the highly synthetic and expressive compositions of the first years of the decade to representations which were more and more complex and even more dispersive. Most of these were also finished by his pupils, for this was the busiest moment in Raphael's career. The Madonna dell'Impannata in the Pitti Gallery in Florence was also painted with the help of assistants. According to some critics, the assistants executed the entire painting. But others see the master's hand at least in the major figures (some say in the Christ Child, some in St Elizabeth, some in both figures). The composition is innovative in respect to the usual iconography of the holy family. It shows St Catherine, St Elizabeth, Christ, the Virgin and St John gathered together in a group. A large tent is visible in the background and a window covered by linen (the impannata, or cloth covering of a window, which gives the painting its name) can be seen at the extreme right. Like many other works by Raphael, this painting was carried off by the French in 1799 and was not returned until after the Congress of Vienna, in 1815.Artist:RAFFAELLO Sanzio Title: Madonna dell'Impannata Painted in 1501-1550 , Italian - - painting : religious
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RAFFAELLO Sanzio
Portrait of Jeanne d'Aragon
new21/RAFFAELLO Sanzio-957392.jpg
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
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RAFFAELLO Sanzio
The Triumph of Galatea
new21/RAFFAELLO Sanzio-425729.jpg
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
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RAFFAELLO Sanzio
The Sibyls
new21/RAFFAELLO Sanzio-576275.jpg
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
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RAFFAELLO Sanzio
St Cecilia
new21/RAFFAELLO Sanzio-355679.jpg
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
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RAFFAELLO Sanzio
Portrait of a Young Woman
new21/RAFFAELLO Sanzio-673858.jpg
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
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RAFFAELLO Sanzio
Cupid and the Three Graces
new21/RAFFAELLO Sanzio-537552.jpg
1517 Fresco Villa Farnesina, Rome It was said that only in the presence of the Three Graces could a young man recognize the charms of his beloved. Cupid is looking at the Graces and pointing with his left hand, not at Psyche, but at the loggia itself, the Chigis own world. This is no doubt meant to refer to the lady of the house. Pope Leo X liked Giovanni da Udine's garlands so much that he commissioned the painter to decorate the first floor of the loggia in the Vatican with similar floral motifs.Artist:RAFFAELLO Sanzio Title: Cupid and the Three Graces Painted in 1501-1550 , Italian - - painting : mythological
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RAFFAELLO Sanzio
The Madonna of Foligno
new21/RAFFAELLO Sanzio-543756.jpg
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
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RAFFAELLO Sanzio
Madonna della Seggiola
new21/RAFFAELLO Sanzio-434935.jpg
1514 Oil on wood, diameter 71 cm Galleria Palatina (Palazzo Pitti), Florence Raphael painted the picture in Rome, probably during the period immediately after the completion of the Stanza di Eliodoro. It soon passed into the Medicean collections. It was already there by 1589 and has been in the Pitti since the 18th century. It was carried off to Paris by the Napoleonic troops in 1799 and brought back to Florence in 1815. A celebrated picture in which Raphael is under the influence of the antique and of the Venetian school, of Titian and of Sebastiano del Piombo. The form of a "tondo" is in itself a reminder of Florence and carries us back to the taste of the Quattrocento. Of the form of the tondo the artist preserves and emphasizes the curve with his genial adaptation of the figures to the outline of the painting. And yet the composition is in no way forced, but on the other hand the figures in following the curve become more closely entwined together. This grouping, this closing around the fulcrum of the tondo coincides with the centre of affection - the little Christ, the spiritual centre of the picture. The colour, in spite of its vividness, has a fusion and a warmth which Raphael attains with genial and personal mastery.Artist:RAFFAELLO Sanzio Title: Madonna della Seggiola (Sedia) Painted in 1501-1550 , Italian - - painting : religious
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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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