|
|
|
RAFFAELLO Sanzio St John the Baptist c. 1518
Oil on canvas,
165 x 147 cm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Psyche Offering Venus the Water of Styx 1517
Red chalk,
263 x 197 mm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio St Paul Preaching in Athens Tempera on paper,
mounted on canvas,
390 x 440 cm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio The Handing-over the Keys 1515
Tempera on paper
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio The Death of Ananias 1515
Tempera on paper
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Waist-length Figure of a Young Woman 1506
Pen and ink over stylus underdrawing, .
262 x 189 mm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Study for the Disputa 1509
Brush and white highlighting over stylus underdrawing, 280 x 285 mm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Loggia of Pope Leo X 1518-19
Palazzi Pontifici
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Madonna della Tenda 1514 Oil on wood, 65,8 x 51,2 cm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Double Portrait 1518 Oil on canvas, 90 x 83 cm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio The Baptism of Constantine 1520-24 Fresco Stanza di Constantino
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio The Battle at Pons Milvius 1520-24
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Moses Saved from the Water 1518-19 Fresco Loggia on the second floor
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Christ relive mk243
1501
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Angel mk243
1500-1501
31x27cm
Oil on board
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Shesibasi mk243
1501-1502
43x34cm
Oil on board
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio The virgin mary and christ mk243
1496-1497
97x67cm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio The virgin mary mk243
1502-1503
Oil on canvas
267x163cm
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Christ on the cross mk243
1503
279x166cm
Oil on canvas
|
|
|
|
|
|
|
|
|
|
RAFFAELLO Sanzio Wedding mk243
1504
170x117cm
Oil on board
|
|
|
|
|
|
|
|
| |
|
|
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,
|