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RAFFAELLO Sanzio
Holy Family below the Oak
Date 1518(1518)
Medium Oil on wood
Dimensions Height: 144 cm (56.7 in). Width: 110 cm (43.3 in).
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RAFFAELLO Sanzio
Retrato de Pietro Bembo
1504(1504)
Medium Oil on panel
Dimensions 54 x 39 cm
cyf
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RAFFAELLO Sanzio
Hl. Familie unter einer Palme, Tondo
Date 1506(1506)
Medium Oil on wood
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RAFFAELLO Sanzio
Portrait of Pietro Bembo
1504(1504)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
Angel
between 1500(1500) and 1501(1501)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
The Holy Family
1518(1518)
Medium Oil on canvas transferred from wood
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RAFFAELLO Sanzio
Crucifixion
between 1502(1502) and 1503(1503)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
Elisabetta Gonzaga
1503(1503)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
The presentation in the temple
Date between 1502(1502) and 1503
cyf
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RAFFAELLO Sanzio
Madonna Terranuova, Szene: Maria mit Christuskind und zwei Heiligen, Tondo
1504-1505
Medium Oil on wood
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RAFFAELLO Sanzio
Portrait of Pietro Bembo
1504(1504)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
Visitation
1517(1517)
Medium Oil on canvas
Dimensions 200 x 145 cm (78.7 x 57.1 in)
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RAFFAELLO Sanzio
Angel
1500-1501
Medium Oil on wood
Dimensions 57 x 36 cm (22.4 x 14.2 in)
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RAFFAELLO Sanzio
St George Fighting the Dragon
between 1503(1503) and 1505(1505)
Medium Oil on wood
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RAFFAELLO Sanzio
St Michael and the Dragon
between 1503(1503) and 1505(1505)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
The Engagement of Virgin Mary
1504(1504)
Medium Oil on roundheaded panel
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RAFFAELLO Sanzio
Portrait of Julius II
between 1511(1511) and 1512(1512)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
Guidobaldo da Montefeltro
1507(1507)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
Young Man with an Apple
1505(1505)
Medium Oil on wood
cyf
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RAFFAELLO Sanzio
Madonna with the Blue Diadem
between 1510(1510) and 1511(1511)
Medium Oil on wood
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| RAFFAELLO Sanzio
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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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