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
Painting ID:: 63798
RAFFAELLO Sanzio 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 The Battle of Ostia 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,
