Choice
ID
Image
Painting (From A to Z)
Details
55676
Academy
mk243
1508
55677
Academy
mk243
63804
Adam and Eve
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican This portrayal of the Fall is generally attributed to Raphael. Standing in a distinct contrapposto pose, Eve recalls the figure of Leda in a study by Leonardo da Vinci - Raphael made a drawing of this while he was in Florence.Artist:RAFFAELLO Sanzio Title: Adam and Eve (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
86966
Aldobrandini Madonna
1510(1510)
Medium Oil on wood
cyf
8742
Aldobrandini Madonna (Garvagh Madonna)
1510
Oil on wood, 38,7 x 32,7 cm
National Gallery, London
8721
Allegory (The Knight's Dream)
c. 1504
Oil on wood, 17 x 17 cm
National Gallery, London
55636
Angel
mk243
1500-1501
31x27cm
Oil on board
84038
Angel
Date between 1500(1500) and 1501(1501)
Medium Oil on wood
Dimensions Height: 57 cm (22.4 in). Width: 36 cm (14.2 in).
cjr
86318
Angel
Date 1500-1501
Medium Oil on wood
Dimensions 57 x 36 cm (22.4 x 14.2 in)
cjr
87901
Angel
between 1500(1500) and 1501(1501)
Medium Oil on wood
cyf
88319
Angel
1500-1501
Medium Oil on wood
Dimensions 57 x 36 cm (22.4 x 14.2 in)
cyf
8706
Angel (fragment of the Baronci Altarpiece) dg
1500-01
Oil on wood, 31 x 27 cm
Pinacoteca Tosio Martinengo, Brescia
74345
Angel fragment of the Baronci Altarpiece
Unknown date
Medium Oil on panel
Dimensions 31 X 27cm
cyf
55661
Apaul and Musi
mk243
1508
120x105cm
63802
Apollo and Marsyas
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The shepherd Marsyas had challenged the god Apollo to a musical contest. Marsyas lost and as a punishment for daring to challenge a god he was flayed alive. The scene is an allegory of divine harmony triumphing over earthly passion. With its unrhythmical composition and its elongated figures, this scene is probably by an unknown hand, and not by Raphael.Artist:RAFFAELLO Sanzio Title: Apollo and Marsyas (ceiling panel) Painted in 1501-1550 , Italian - - painting : mythological
55671
Argue
mk243
55672
Argue
mk243
55673
Argue
mk243
1508
55720
Argue
mk243
1509
55695
Atila
mk243
1514
55685
Augur
mk243
1511-1512
250x155cm
57239
Barr reaches Saar Kasi the Leo portrait
mk255 for in the years 1514-1515 canvas 0.82 x 0.67 meters. Paris Louvre
55706
Bishop
mk243
1518-1519
154x119cm
Oil on board
55651
Blessing
mk243
1506
30x25cm
Oil on canvas
83527
Bridgewater Madonna
Date ca. 1507(1507)
Medium Oil on canvas transferred from panel
Dimensions Height: 81 cm (31.9 in). Width: 56 cm (22 in).
cjr
87386
Bridgewater Madonna
1507(1507)
Medium Oil on canvas transferred from panel
cyf
63777
Cardinal Tommaso Inghirami
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
63809
Ceiling
1513-14 Fresco Stanza di Eliodoro, Palazzi Pontifici, Vatican The four great paintings on the ceiling show scenes from the Old Testament, the theme being God's intervention at a critical moment in Man's destiny: Moses and the Burning Bush is above the fresco The Expulsion of Heliodorus; Isaac's Sacrifice of his Son is above The Mass at Bolsena; Noah's Dream is above The Meeting between Leo the Great and Attila; and Jacob's Ladder is above The Liberation of St Peter.Artist:RAFFAELLO Sanzio Title: Ceiling Painted in 1501-1550 , Italian - - painting : religious
55681
Ceremony
mk243
1511
295x225cm
55699
Chimera
mk243
1514
220x136cm
Oil on board
55657
Christ
mk243
1507
Oil on board
184x176cm
55708
Christ
mk243
1518-1520
405x278cm
Oil on board
55717
Christ Bury
mk243
55718
Christ Bury
mk243
1507
51241
Christ Falls on the Way to Calvary
1517
Oil on panel
55640
Christ on the cross
mk243
1503
279x166cm
Oil on canvas
55635
Christ relive
mk243
1501
86961
Colonna Madonna
1508(1508)
Medium Oil on wood
cyf
55723
Construction
mk243
84043
Crucifixion
Date between 1502(1502) and 1503(1503)
Medium Oil on wood
Dimensions Height: 281 cm (110.6 in). Width: 165 cm (65 in).
cjr
87903
Crucifixion
between 1502(1502) and 1503(1503)
Medium Oil on wood
cyf
8707
Crucifixion (Citt di Castello Altarpiece) g
1502-03
Oil on wood, 281 x 165 cm
National Gallery, London
63787
Cupid and the Three Graces
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
51256
Decoration of the Loggetta
1516-17
Fresco Palazzi Pontifici
63812
Decoration of the Loggetta
1516-17 Fresco Palazzi Pontifici, Vatican Raphael decorated Bibbiena's loggetta in the style of newly-discovered ancient Roman ornamental forms - the walls and ceilings are adorned with grotesques, open areas and geometric ornaments. The artist has depicted mythological scenes in the lunettes, as well as allegories of the four seasons in the recesses. Raphael himself was probably responsible for the overall design and for some of the figure studies. That said, the final decorative work would have been undertaken by his studio associates, Francesco Penni, Giulio Romano and Giovanni da Udine.Artist:RAFFAELLO Sanzio Title: Decoration of the Loggetta Painted in 1501-1550 , Italian - - painting : interior
55658
Detail of Christ
mk243
1507
55670
Detail of Family
mk243
1507
82579
Diotalevi Madonna
Date ca. 1503(1503)
Medium Oil on wood
Dimensions Height: 69 cm (27.2 in). Width: 50 cm (19.7 in).
cjr
51228
Disputation of the Holy Sacrament
1510-11
Fresco,
width at the base
79735
Donna Velata
oil on canvas, 85 x 64 cm
1512/1513
cjr
83680
Donna Velata
oil on canvas, 85 x 64 cm
cyf
52204
Double Portrait
1518 Oil on canvas, 90 x 83 cm
62373
Double Portrait
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
55644
Dragon and Iimi
mk243
1504-1505
58x36cm
55656
Dumb
mk243
1507
64x48cm
Oil on board
84051
Elisabetta Gonzaga
Date ca. 1503(1503)
Medium Oil on wood
Dimensions Height: 53 cm (20.9 in). Width: 37 cm (14.6 in).
cjr
87908
Elisabetta Gonzaga
1503(1503)
Medium Oil on wood
cyf
55721
Father and The virgin mary
mk243
1508
28.4x19.1cm
55696
Fire
mk243
1514
87275
Georg im Kampf mit dem Drachen
1505(1505)
Medium Oil on wood
Dimensions Deutsch: 31 x 27 cm
cyf
63811
Gregory IX Approving the Decretals
1511 Fresco, width at base 220 cm Stanza della Segnatura, Palazzi Pontifici, Vatican This scene is based on a dedication picture of the kind often found in manuscript illumination. What is unusual is that Pope Julius II allowed himself to be portrayed as Pope Gregory IX. His beard helps the dating of the fresco since it is known that after the autumn of 1511 he never shaved again. Cardinal Giovanni de' Medici, later to be Leo X, is standing on the pope's far left.Artist:RAFFAELLO Sanzio Title: Gregory IX Approving the Decretals Painted in 1501-1550 , Italian - - painting : religious
88335
Guidobaldo da Montefeltro
1507(1507)
Medium Oil on wood
cyf
55701
Heal foot
mk243
1515
390x520cm
90527
Hl. Familie unter der Eiche, mit Johannes dem Taufer
1518(1518)
Medium oil on panel
Dimensions Deutsch: 144 x 110 cm
cjr
87862
Hl. Familie unter einer Palme, Tondo
Date 1506(1506)
Medium Oil on wood
cjr
83142
Hl. Georg im Kampf mit dem Drachen
Date 1505(1505)
Medium Oil on wood
Dimensions Deutsch: 31 x 27 cm
cjr
51237
Holy Family below the Oak
1518
Oil on wood,
144 x 110 cm
87607
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).
cjr
89751
Holy Family below the Oak
1518(1518)
Medium oil on panel
cyf
55722
Insitute
mk243
1520
51250
Isaac and Rebecca Spied upon by Abimelech
1518-19
Fresco Loggia on the second floor
55662
Judge
mk243
120x105cm
1508
oil on canvas
63797
Justice
1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The personification of Justice is holding, as her symbols, weighing scales and a sword. Her eyes are directed at the fresco below, The Virtues, in which Fortitude, Wisdom, and Temperance are portrayed in the form of three women. Taken together, all four personifications represent the Cardinal Virtues. Justice's prominent position is explained by the fact that Justice was said by Plato to play a decisive role among the virtues. Two putti are holding the inscription with the words of Emperor Justinian, "She gives Justice to all."Artist:RAFFAELLO Sanzio Title: Justice (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
51254
Justinian Presenting the Pandects to Trebonianus
1511
Fresco, width at the base 110 cm
63810
Justinian Presenting the Pandects to Trebonianus
1511 Fresco Stanza della Segnatura, Palazzi Pontifici, VaticanArtist:RAFFAELLO Sanzio Title: Justinian Presenting the Pandects to Trebonianus (detail) Painted in 1501-1550 , Italian - - painting : historical
55674
Kadalina
mk243
1508
71x53cm
55712
Kadanali
mk243
1506-1507
55645
Kill dragon
mk243
1505
29.5x25.5cm
Oil on board
55646
Kill dragon
mk243
1504-1506
28.5x21.5cm
Oil on canvas
55716
Kill dragon and Georgian
nk243
1505
63813
La Disputa
1510-11 Fresco, width of detail: 225 cm Stanza della Segnatura, Palazzi Pontifici, VaticanArtist:RAFFAELLO Sanzio Title: La Disputa (detail) Painted in 1501-1550 , Italian - - painting : religious
63814
La Disputa
1510-11 Fresco, width of detail: 57 cm Stanza della Segnatura, Palazzi Pontifici, VaticanArtist:RAFFAELLO Sanzio Title: La Disputa (detail) Painted in 1501-1550 , Italian - - painting : religious
82493
La fornarina or Portrait of a young woman
Date between 1518(1518) and 1519(1519)
Medium Oil on wood
Dimensions Height: 85 cm (33.5 in). Width: 60 cm (23.6 in).
cjr
8729
Lady with a Unicorn dfg
c. 1505
Oil on wood, 65 x 51 cm
Galleria Borghese, Rome
55666
Law
mk243
1508
180cm
55709
Lina
mk243
1518-1519
85x60cm
Oil on canvas
52002
Loggia of Pope Leo X
1518-19
Palazzi Pontifici
63820
Madonna and Child
1508 Oil on wood, 81 x 57 cm National Gallery of Art, Washington The dominance of the lyrical and graceful aspect of this painting (known also as The Niccolini-Cowper Madonna) over the religious content mark it as belonging to Raphael's Florentine period, 1505-08. In fact this panel, signed and dated 1508, was executed near the end of Raphael's stay in Florence. The date 1508 and the artist's monogram "RV" have been worked into the embroidery of the Virgin's robe. The title derives from the names of two former owners. The full, well-formed figures reveal an early influence of Michelangelo, while the soft modeling and the use of chiaroscuro reveal the influence of Leonardo. Fra Bartolomeo's influence is particularly clear. The composition is extremely simple and essential; the gesture of the Child, who stretches his hand toward the Virgin while turning his attention toward the spectator, and the gesture with which the Virgin holds the hand to her breast, provide the only signs of life. The sentiment of anxious motherhood which, enriched by greater awareness, will be fully expressed in the Tempi Madonna, now in the Alte Pinakothek of Munich, appears here for the first time.Artist:RAFFAELLO Sanzio Title: Madonna and Child (The Large Cowper Madonna) Painted in 1501-1550 , Italian - - painting : religious
82581
Madonna and Child
Date ca. 1505(1505)
Medium Oil on wood
Dimensions Height: 209.6 cm (82.5 in). Width: 148.6 cm (58.5 in).
cjr
84027
Madonna and Child
Date ca. 1503(1503)
Medium Oil on wood
Dimensions Height: 55 cm (21.7 in). Width: 40 cm (15.7 in).
cjr
86960
Madonna and Child
between 1504(1504) and 1505(1505)
Medium Oil on wood
cyf
86962
Madonna and Child
1508(1508)
Medium Oil on wood
cyf
63816
Madonna and Child Enthroned with Saints
Madonna and Child Enthroned with Saints 1504-05 Tempera and gold on wood, 172,4 x 172,4 cm (main panel) Metropolitan Museum of Art, New York This is the main panel and lunette from a relatively early work by Raphael, also known as the Colonna Altarpiece, painted for the convent of Sant'Antonio da Padova at Perugia. He began the work when he was barely 20 years old, just before he left for Florence in 1504, and he completed it the following year after he returned to Perugia. The influence of his teacher Perugino can be seen in the conservative composition. Nevertheless, Raphael has infused into the stiffly posed group a breadth and dignity that reflects his knowledge of the work of Fra Bartolommeo in Florence. Particularly beautiful is the way the figures fill the curved shape of the lunette. Flanking the Madonna and Child with the infant Saint John the Baptist are Saints Peter, Catherine, Cecilia(?), and Paul.Artist:RAFFAELLO Sanzio Title: Madonna and Child Enthroned with Saints Painted in 1501-1550 , Italian - - painting : religious
63546
Madonna and Child with the Infant St John
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
89281
Madonna and Child with the Infant St John
1508(1508)
Medium tempera and oil on wood
cyf
8735
Madonna del Cardellino ert
1507
Oil on wood, 107 x 77 cm
Galleria degli Uffizi, Florence
63781
Madonna dell'Impannata
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
63789
Madonna della Seggiola
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
86225
Madonna della Seggiola
1514(1514)
Medium Oil on wood
cyf
52196
Madonna della Tenda
1514 Oil on wood, 65,8 x 51,2 cm
70241
Madonna della Tenda
Medium Oil on wood
Dimensions 65,8 X 51,2 cm
86964
Madonna of Belvedere
1506(1506)
Medium Oil on wood
cyf
8741
Madonna of Loreto (Madonna del Velo) at
1509-10
Oil on wood, 120 x 90 cm
Mus??e Cond??, Chantilly
89446
Madonna Solly
1502/1503
Medium oil on panel
Dimensions 52 x 38 cm (20.5 x 15 in)
cyf
87980
Madonna Terranuova, Szene: Maria mit Christuskind und zwei Heiligen, Tondo
1504-1505
Medium Oil on wood
cjr
8738
Madonna with Beardless St Joseph sy
1506
Tempera on canvas transferred from wood, 74 x 57 cm
The Hermitage, St. Petersburg
8743
Madonna with the Blue Diadem
1510-11
Oil on wood, 68 x 44 cm
Mus??e du Louvre, Paris
88339
Madonna with the Blue Diadem
between 1510(1510) and 1511(1511)
Medium Oil on wood
cyf
8723
Madonna with the Book (Connestabile Madonna) dy
1504
Tempera on canvas transferred from wood, diameter 17,9 cm
The Hermitage, St. Petersburg
51236
Madonna with the Fish
1512-14
Oil on canvas
86662
Madonna with the Fish
Date between 1512(1512) and 1514(1514)
Medium Oil on canvas transferred from wood
Dimensions Height: 215 cm (84.6 in). Width: 158 cm (62.2 in).
cjr
90615
Madonna with the Fish
between 1512(1512) and 1514(1514)
Medium Oil on canvas transferred from wood
cyf
81904
Maria mit Christuskind und zwei Heiligen, Tondo
Date 1504-1505
Medium Oil on wood
cjr
55659
Meditation
mk243
1508
120x105cm
55697
Miraculous Fisherman
mk243
1515
360x400cm
55698
Miraculous Fisherman
mk243
1515
360x400cm
temper
52285
Moses Saved from the Water
1518-19 Fresco Loggia on the second floor
55680
Mountain
mk243
1510-1511
55643
Mrs Yili
mk243
1504-1505
58x36cm
55710
Naked girl
mk243
256x163cm
55660
Original sin
mk243
1508
120x105cm
55664
Philosophy
mk243
1508
63794
Philosophy
1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The woman enthroned is enveloped in a garment that has four colours, each of which represents one of the four elements, which in turn are symbolized by their pattern. Blue is for the stars (air), red is for the tongues of flame (fire), green is for the fish (water), and golden brown is for the flora (earth). Philosophy holds two books with the titles "Morals" and "Nature," while two genii hold texts with Cicero's words Causarum Cognitio (Know the Causes). This picture is situated above The School of Athens.Artist:RAFFAELLO Sanzio Title: Philosophy (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
55665
Poetics
mk243
1508
63795
Poetry
1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The lyre and the laurel wreath are the symbols of Poetry, who here appears as a winged figure. Like Aristotle in The School of Athens, she is holding a book in an unusual way; the title is not known. Two putti are holding the tablets on which are written the words of the Roman poet Virgil's, "Numine Afflatur" (Inspired by the Spirit). The Christian "spirit" is meant here, since putti are holding the text and not genii, as with the figure of Philosophy.Artist:RAFFAELLO Sanzio Title: Poetry (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
55704
Portrai ot Fidela
mk243
1515-1516
90x62cm
Oil on canvas
77755
Portrait de Jeanne d Aragon
Oil
Dimensions 95 ?? 120 cm (37.4 ?? 47.2 in)
cyf
8744
Portrait of a Cardinal
1510-11
Oil on wood, 79 x 61 cm
Museo del Prado, Madrid
82591
Portrait of a Man
Date ca. 1502(1502)
Medium Oil on wood
Dimensions Height: 45 cm (17.7 in). Width: 31 cm (12.2 in).
cjr
8712
Portrait of a Man aet
c. 1502
Oil on wood, 45 x 31 cm
Galleria Borghese, Rome
63818
Portrait of a Woman
1507 Oil on wood, 64 x 48 cm Galleria Nazionale, Urbino The female portrait known as The Mute Woman represents a return to the influence of Leonardo. It certainly comes from the Florentine environment, for it was given in trust to the National Gallery of the Marches by the Uffizi, where it had been stored for several hundred years. It was attributed to Raphael only recently. Leonardo inspires mainly the pose of the figure (whose characteristically crossed hands constitute a very clear reference to the Mona Lisa). The neatness of the large areas of colour which emerge in lighter tones from the near-black background, and the analytical treatment of the details of the woman's clothing are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour - used here in a fairly limited range - which unify the composition as a whole.Artist:RAFFAELLO Sanzio Title: Portrait of a Woman (La Muta) Painted in 1501-1550 , Italian - - painting : portrait
8728
Portrait of a Woman (La Donna Gravida) drty
1505-06
Oil on panel, 66 x 52 cm
Galleria Palatina (Palazzo Pitti), Florence
83844
Portrait of a Young Man
1514 Alternate: c. 1509-11
Medium Oil on parqueted board
Dimensions 59 x 75 cm (23.2 x 29.5 in)
cyf
79895
Portrait of a Young Man.
c. 1509-11
Oil on parqueted board
59 x 75 cm (23.2 x 29.5 in)
cjr
63786
Portrait of a Young Woman
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
81951
Portrait of a Youth
c. 1509-11
Medium oil on board
Dimensions 59 x 75 cm (23.2 x 29.5 in)
cjr
8732
Portrait of Agnolo Doni
1506
Oil on wood, 63 x 45 cm
Galleria Palatina (Palazzo Pitti), Florence
89851
Portrait of Agnolo Doni
c. 1506(1506)
Medium oil on panel
Dimensions 63 x 45 cm (24.8 x 17.7 in)
cyf
55702
Portrait of Badashalei
mk243
1514-1515
82x67cm
Oil on canvas
55683
Portrait of cardinal
mk243
1510-1511
Oil on board
79x61cm
90614
Portrait of Dona Isabel de Requesens
1518(1518)
Medium Oil on wood transferred to canvas
cyf
86661
Portrait of Dona Isabel de Requesens, Vice-Queen of Naples
Date 1518(1518)
Medium Oil on wood transferred to canvas
Dimensions Height: 120 cm (47.2 in). Width: 95 cm (37.4 in).
cjr
55654
Portrait of Duni
mk243
63x45cm
1506
Oil on board
63782
Portrait of Jeanne d'Aragon
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
51238
Portrait of Jeanne d-Aragon
1518
Oil on wood
88334
Portrait of Julius II
between 1511(1511) and 1512(1512)
Medium Oil on wood
cyf
55652
Portrait of Madali
mk243
1506
63x45cm
Oil on board
8734
Portrait of Maddalena Doni ft
1506
Oil on panel, 63 x 45 cm
Galleria Palatina (Palazzo Pitti), Florence
8715
Portrait of Pietro Bembo
c. 1504
Oil on wood, 54 x 69 cm
Museum of Fine Arts, Budapest
87900
Portrait of Pietro Bembo
1504(1504)
Medium Oil on wood
cyf
88218
Portrait of Pietro Bembo
1504(1504)
Medium Oil on wood
cyf
88342
Portrait of Tommaso Inghirami
between 1510(1510) and 1514(1514)
Medium Oil on wood
cyf
55648
Portrait of woman
mk243
1505-1506
66x52cm
Oil on canvas
55689
Portrait of Yoliersi
mk243
1512
107x80cm
Oil on board
55649
Portrait of younger woman
mk243
1505-1506
65x51cm
Oil on canvas
82205
Portrat des Fedra Inghirami
1515 - 1516
Medium Oil on panel
Dimensions 90 x 62 cm (35.4 x 24.4 in)
cyf
79347
Portrat des Papstes Leo X
1518-1519
Medium Deutsch: Öl auf Holz
cyf
85950
Portrat einer jungen Frau
between 1518(1518) and 1519(1519)
Medium Oil on wood
cyf
63801
Prime Mover
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The figure bending in a beautiful scorcio over the celestial globe is a masterly example of perspective. Philosophically, this figure can be seen as an allegory of the beginning of the universe, but it might also be an embodiment of the science of astronomy. The constellation on the globe can be calculated exactly: the night of 31 October 1503, the date that Julius II was elected pope.Artist:RAFFAELLO Sanzio Title: Prime Mover (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
51284
Psyche Offering Venus the Water of Styx
1517
Red chalk,
263 x 197 mm
55691
Psychic and angel
mk243
1514-1515
78687
Raffael
1518-1519
Medium Deutsch: Öl auf Holz
cyf
67495
Raffaello Angelo 1
Title Italiano: Angelo
Deutsch: Pala vom seligen Nikolaus von Tolentino, Detail: Engel
English: Angel, fragment of the Baronci Altarpiece
Year ?
Technique Oil on panel
Dimensions 31 X 27cm
83887
Retrato de Pietro Bembo
Date ca. 1504(1504)
Medium Oil on panel
Dimensions 54 x 39 cm
cjr
87741
Retrato de Pietro Bembo
1504(1504)
Medium Oil on panel
Dimensions 54 x 39 cm
cyf
87571
ritratto virile della galleria borghese
Oil on canvas
cyf
58340
Roveredo portrait
mk261 Florence about 1504 oil painting of wood 47.3 x 35.3 cm
84111
Sao Joao Batista
Date ca. 1518(1518)
Medium Oil on canvas
Dimensions Height: 165 cm (65 in). Width: 147 cm (57.9 in).
cjr
55655
Self-Portrait
mk243
1506
45x33cm
8731
Self-Portrait er78
1506
Oil on wood, 45 x 33 cm
Galleria degli Uffizi, Florence
55707
Shemikaier and devil
mk243
1518
268x160cm
55637
Shesibasi
mk243
1501-1502
43x34cm
Oil on board
82580
Solly Madonna
Date ca. 1502(1502)
Medium Oil on wood
Dimensions Height: 52 cm (20.5 in). Width: 38 cm (15 in).
cjr
89132
Spozalizio
1504(1504)
Medium Oil on roundheaded panel
cyf
89133
Spozalizio
1504(1504)
Medium Oil on roundheaded panel
cyf
8718
Spozalizio (detail) at
1504
Oil on roundheaded panel
Pinacoteca di Brera, Milan
8717
Spozalizio (detail) jkfg
1504
Oil on roundheaded panel
Pinacoteca di Brera, Milan
8716
Spozalizio (The Engagement of Virgin Mary) af
1504
Oil on roundheaded panel, 170 x 117 cm
Pinacoteca di Brera, Milan
63821
St Catherine of Alexandria
1508 Oil on wood, 71,1 x 54,6 cm National Gallery, London Half-way between a work of private devotion and a collector's piece, this picture was probably painted just before Raphael's move to Rome. Rather more evident than the influence of Perugino is that of Leonardo, who perfected the `serpentine' pose in which the body twists about its axis, lending movement, grace and three-dimensional presence even to static figures. Characteristically, Raphael justifies this unnatural position through a narrative device: Catherine turns her head upwards and to her right in ecstatic communion with the divine light descending in thin gold rays from the sky. St Catherine of Alexandria is portrayed in a marvellous, twisted pose. Her left arm is leaning on her attribute, the wheel, and her right hand is pressed to her breast while she gazes up at a sky flooded with light. The composition is as rich in harmonious movement as the coloration is full and varied. The landscape is painted with particular care. Its light shading indicates a residual influence of Leonardo, although the jagged mountains which often characterize Leonardo's landscapes are absent. The delicate modelling of the saint, the slight torsion of her body as she leans on the wheel of her martyrdom (whose spikes have been reduced to rounded knobs in order to tone down the element of cruelty) fully express the balanced character of Raphael's art. The panel clearly shows the intense formal research which underlies Raphael's figurative creations. He is always careful not to excite emotions which he considers too intense and to mitigate tones and thematic elements in search of a perfect balance between design, colour, pose and expression, and between the figurative and ornamental elements.Artist:RAFFAELLO Sanzio Title: St Catherine of Alexandria Painted in 1501-1550 , Italian - - painting : religious
82797
St Catherine of Alexandria
1508(1508)
Medium Oil on wood
cyf
63785
St Cecilia
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
89861
St Cecilia
1514(1514)
Medium Oil transferred from panel to canvas
Dimensions Width: 60 cm (23.6 in). (of detail)
cjr
51222
St George and the Dragon
1505-06
Oil on wood,
28.5 x 21.5 cm
8725
St George and the Dragon st
1505-06
Oil on wood, 28.5 x 21.5 cm
National Gallery of Art, Washington
88329
St George Fighting the Dragon
between 1503(1503) and 1505(1505)
Medium Oil on wood
cyf
51263
St John the Baptist
c. 1518
Oil on canvas,
165 x 147 cm
88330
St Michael and the Dragon
between 1503(1503) and 1505(1505)
Medium Oil on wood
cyf
8726
St Michael and the Dragon sdr
c. 1505
Oil on wood, 31 x 27 cm
Mus??e du Louvre, Paris
63778
St Michael and the Satan
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
51286
St Paul Preaching in Athens
Tempera on paper,
mounted on canvas,
390 x 440 cm
8705
St Sebastian
1501-02
Oil on wood, 43 x 34 cm
Accademia Carrara, Bergamo
84559
St Sebastian
Date between 1501(1501) and 1502(1502)
Medium Oil on wood
cjr
88409
St Sebastian
between 1501(1501) and 1502(1502)
Medium Oil on wood
cyf
55705
Story
mk243
1518-1519
51296
Study for the Disputa
1509
Brush and white highlighting over stylus underdrawing, 280 x 285 mm
55713
Study of bury
mk243
1507
182x205cm
55719
Study of Mary
mk243
63815
The Adoration of the Magi
1502-03 Oil on canvas, 27 x 150 cm Pinacoteca, Vatican Extant drawings demonstrate the tremendous amount of thought which Raphael put into the realization of the Oddi Altarpiece and some details, notably the highly individual faces of the Apostles and the serene landscape in the background, are quite masterful. But the most meaningful passages are found in the predella scenes: the vast space which opens out beneath the colonnades of the Annunciation; the highly animated Adoration of the Magi; and the free quality of the atmosphere in the Presentation in the Temple, which foreshadows the extraordinary spatial intuition of some of the artist's future Vatican compositions.Artist:RAFFAELLO Sanzio Title: The Adoration of the Magi (Oddi altar) Painted in 1501-1550 , Italian - - painting : religious
8710
The Adoration of the Magi (Oddi altar) set
1502-03
Oil on canvas, 27 x 150 cm
Pinacoteca, Vatican
8747
The Alba Madonna
1511
Oil on canvas, diameter 98 cm
National Gallery of Art, Washington
86060
The annunciation
Date between 1502(1502) and 1503(1503)
Medium Deutsch: Öltempera auf Holz, auf Leinwand xbertragen.
English: Tempera grassa (egg-oil) on canvas.
Español: Óleo sobre lienzo.
Français : Tempera grassa (xmulsion x lxœuf et x lxhuile) sur bois transfxrxe sur toile.
Italiano: Tempera grassa su tavola trasportata su tela.
Dimensions Height: 27 cm (10.6 in). Width: 50 cm (19.7 in).
cjr
90119
The annunciation
between 1502(1502) and 1503
cyf
8709
The Annunciation (Oddi altar, predella) t
1502-03
Oil on canvas, 27 x 50 cm
Pinacoteca, Vatican
52239
The Baptism of Constantine
1520-24 Fresco Stanza di Constantino
52241
The Battle at Pons Milvius
1520-24
63798
The Battle of Ostia
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
8730
The Blessing Christ
c. 1506
Oil on wood, 30 x 25 cm
Pinacoteca Tosio Martinengo, Brescia
51252
The Cardinal Virtues
1511
Fresco, width at the base 660 cm
63808
The Cardinal Virtues
1511 Fresco, width at the base 660 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The lunette above the scenes Justinian Presenting the Pandects to Trebonianus (left) and Gregory IX Approving the Decretals (right) represents the Cardinal Virtues. Fortitude can be recognized by her attribute, the lion; Wisdom, who has two faces, by her mirror; and Temperance by the reins. Fortitude is holding an oak branch, a reference to the pope's family name, Rovere, meaning "oak."Artist:RAFFAELLO Sanzio Title: The Cardinal Virtues Painted in 1501-1550 , Italian - - painting : religious
51247
The Coronation of Charlemagne
1516-17 Fresco
51245
The Creation of the Animals
1518-19
Fresco Loggia on the second floor
86394
The Crowning of the Virgin
Date between 1502(1502) and 1503(1503)
Medium Oil on canvas, transferred from panel
Dimensions Height: 267 cm (105.1 in). Width: 163 cm (64.2 in).
cjr
8708
The Crowning of the Virgin (Oddi altar)
1502-03
Oil on canvas, 267 x 163 cm
Pinacoteca, Vatican
51288
The Death of Ananias
1515
Tempera on paper
88331
The Engagement of Virgin Mary
1504(1504)
Medium Oil on roundheaded panel
cyf
8740
The Entombment (detail) st
1507
Oil on wood
Galleria Borghese, Rome
8739
The Entombment sys
1507
Oil on wood, 184 x 176 cm
Galleria Borghese, Rome
51243
The Expulsion of Heliodorus from the Temple
1511-12
Fresco, width at the base 750 cm
63792
The Expulsion of Heliodorus from the Temple
1511-12 Fresco Stanza di Eliodoro, Palazzi Pontifici, Vatican Raphael's depiction of the Pope Julius II in the fresco is as penetrating as the London portrait of Julius. According to Vasari, the reason Raphael was so well-liked was probably because he portrayed so many people at the papal court to their satisfaction in these frescoes.Artist:RAFFAELLO Sanzio Title: The Expulsion of Heliodorus from the Temple (detail) Painted in 1501-1550 , Italian - - painting : religious
63793
The Expulsion of Heliodorus from the Temple
1511-12 Fresco, width of detail: 230 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican In the centre, the expanse of the wide nave, illuminated by the reflections of light in the vault, is a more effective space-determining motif than the large patches of blue sky which appeared through the coffered ceiling in the School of Athens.Artist:RAFFAELLO Sanzio Title: The Expulsion of Heliodorus from the Temple (detail) Painted in 1501-1550 , Italian - - painting : religious
63790
The Fire in the Borgo
1514 Fresco Stanza dell'Incendio di Borgo, Palazzi Pontifici, Vatican The group in the left foreground, for example (made up of an old man on the shoulders of a young man, and a child), may be drawn from the episode of the Aeneid in which Aeneas escapes with his father, Anchises and his son, Ascanius. The nude descending from the wall at left recalls the heroic figures of Michelangelo.Artist:RAFFAELLO Sanzio Title: The Fire in the Borgo (detail) Painted in 1501-1550 , Italian - - painting : religious
63791
The Fire in the Borgo
1514 Fresco Stanza dell'Incendio di Borgo, Palazzi Pontifici, Vatican The figures in the foreground are desperately trying to put out the fire.Artist:RAFFAELLO Sanzio Title: The Fire in the Borgo (detail) Painted in 1501-1550 , Italian - - painting : religious
86971
The Granduca Madonna
1504(1504)
Medium Oil on wood
cyf
8722
The Granduca Madonna at
1504
Oil on wood, 84 x 55 cm
Galleria Palatina (Palazzo Pitti), Florence
51287
The Handing-over the Keys
1515
Tempera on paper
84041
The Holy Family
Date 1518(1518)
Medium Oil on canvas transferred from wood
cjr
85310
The Holy Family
Date 1518(1518)
Medium Oil on canvas transferred from wood
Dimensions Height: 207 cm (81.5 in). Width: 140 cm (55.1 in).
cjr
87902
The Holy Family
1518(1518)
Medium Oil on canvas transferred from wood
cyf
51248
The Judgment of Solomon
1518-19
Fresco Loggia on the second floor
63803
The Judgment of Solomon
1510-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The story from the Old Testament tells how two women came to Solomon to settle a dispute about which one was the mother of a child. When Solomon ordered the baby to be cut in half, one of the women agreed to give up the child. Solomon recognized her as the true mother. The man holding the sword derives from a classical figure, either Castor or Pollux from the Quirinal, an ancient Roman palace.Artist:RAFFAELLO Sanzio Title: The Judgment of Solomon (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
63805
The Liberation of St Peter
1514 Fresco, width at base 660 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican The story in the New Testament says that King Herod took Peter prisoner and intended to have him killed. In prison the Apostle was chained to two guards, but an angel of the Lord freed him despite the close watch. The fresco is dated 1514 on two painted tablets in the picture. The composition of this fresco clearly reflects the order and unity of the Mass of Bolsena. But the story is broken down into three distinct episodes, taken from the Acts of the Apostles. The first shows the dismay of the guards; the second the appearance of the Angel of Freedom in the saint's cell; the third, the bewildered Peter led by the hand of the divine messenger. The barred cell is on an upper level (like the altar in the Mass) and is reached by steps to the left and right. A group of agitated figures occupies the stairway at the left. Here, a soldier - whose armor reflects the light of the moon asks his sleepy and bewildered comrades what is going on. At right, the angel leads the stunned and still-sleepy St Peter past another sleeping guard. Here, for the first time, Raphael attempts a "night effect", using both the natural light of the moon and the autonomous light of the angel. Raphael's assistants played a greater role in painting the Eliodoro cycle than in the Stanza della Segnatura. This is clearly a consequence of the growing number of commissions which the Romans granted to Raphael. The hand of Giulio Romano, one of his most faithful pupils, is visible in the episode showing the Liberation of St Peter. This painting is the last fresco that can be attributed to Raphael with any certainty. The large cycles which follow (except for the Sibyls of Santa Maria della Pace) were entrusted mainly to assistants.Artist:RAFFAELLO Sanzio Title: The Liberation of St Peter Painted in 1501-1550 , Italian - - painting : religious
63806
The Liberation of St Peter
1514 Fresco, width of detail: 235 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican The story in this fresco is broken down into three distinct episodes, taken from the Acts of the Apostles. The second (in the centre) shows the appearance of the Angel of Freedom in the saint's cell.Artist:RAFFAELLO Sanzio Title: The Liberation of St Peter (detail) Painted in 1501-1550 , Italian - - painting : religious
51255
The Loggetta of Cardinal Bibbiena
1516-17
Fresco Palazzi Pontifici
51240
The Loggia of Psyche
1517
Fresco Villa Farnesina
63788
The Madonna of Foligno
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
51246
The Mass at Bolsena
1512 Fresco
width at the base 660 cm
63799
The Mass at Bolsena
1512 Fresco, width of detail: 141 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican As the priest raises the Host, two devotees lean over the semicircular screen which forms the background of the scene. This is a further attempt by Raphael to represent figures in a more dynamic way.Artist:RAFFAELLO Sanzio Title: The Mass at Bolsena (detail) Painted in 1501-1550 , Italian - - painting : religious
63800
The Mass at Bolsena
1512 Fresco Stanza di Eliodoro, Palazzi Pontifici, Vatican Julius II had founded the Swiss Guard as a military elite in May 1510, and granted them the distinction of their own costume. The Guard had played a vital role in a victory over French forces, who had occupied parts of the Papal State. The pope was probably bestowing an honour on them for that loyal service by letting Raphael portray some of their important representatives in the fresco, thus giving them pride of place in his audience chamber.Artist:RAFFAELLO Sanzio Title: The Mass at Bolsena (detail) Painted in 1501-1550 , Italian - - painting : religious
51251
The Meeting between Leo the Great and Attila
1514 Fresco
63776
The Miraculous Draught of Fishes
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
51257
The Parnassus
1509-10
Fresco, width at base 670 cm
84138
The presentation in the temple
Date between 1502(1502) and 1503(1503)
Medium Deutsch: Öltempera auf Holz, auf Leinwand xbertragen.
English: Tempera grassa (egg-oil) on canvas.
Español: Óleo sobre lienzo.
Français : Tempera grassa (xmulsion x lxœuf et x lxhuile) sur bois transfxrxe sur toile.
Italiano: Tempera grassa su tavola trasportata su tela.
Dimensions Height: 27 cm (10.6 in). Width: 50 cm (19.7 in).
cjr
87960
The presentation in the temple
Date between 1502(1502) and 1503
cyf
8711
The Presentation in the Temple (Oddi altar, predella)
1502-03
Oil on canvas, 27 x 50 cm
Pinacoteca, Vatican
63822
The School of Athens
1509 Fresco Stanza della Segnatura, Palazzi Pontifici, Vatican Geometry is represented by Euclid, who is explaining to his pupils a geometric diagram he has drawn on a slate. It is thought that Raphael was here portraying the architect Bramante.Artist:RAFFAELLO Sanzio Title: The School of Athens (detail) Painted in 1501-1550 , Italian - - painting : religious
63823
The School of Athens
1509 Fresco Stanza della Segnatura, Palazzi Pontifici, Vatican Pythagoras, representing Arithmetic, is sitting in the foreground. The two men who are jostling to look over his shoulder recall figures in Leonardo da Vinci's unfinished Adoration of the Magi in the Uffizi. Raphael had occasion to study Leonardo's picture during his stay in Florence.Artist:RAFFAELLO Sanzio Title: The School of Athens (detail) Painted in 1501-1550 , Italian - - painting : religious
51244
The Separation of Land and Water
1518-19
Fresco Loggia on the second floor
51239
The Sibyls
c. 1514
Fresco, width at base 615 cm
63784
The Sibyls
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
63779
The Sistine Madonna
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
89282
The Tempi Madonna
1508(1508)
Medium oil on wood
cyf
8720
The Three Graces F
1504-05
Oil on panel, 17 x 17 cm
Mus??e Cond??, Chantilly
63783
The Triumph of Galatea
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
8745
The Triumph of Galatea (detail)
1511
Fresco
Villa Farnesina, Rome
8746
The Triumph of Galatea (detail)
1511
Fresco
Villa Farnesina, Rome
8736
The Virgin and Child with Saint John the Baptist (La Belle Jardinire) af
1507
Oil on wood, 122 x 80 cm
Mus??e du Louvre, Paris
55639
The virgin mary
mk243
1502-1503
Oil on canvas
267x163cm
55669
The virgin mary
mk243
1507
122x80cm
55675
The virgin mary
mk243
1510
Oil on canvas
55678
The virgin mary
mk243
1508
81x57cm
55682
The virgin mary
mk243
1510-1511
68x48cm
55684
The virgin mary
mk243
1511
160x126cm
Oil on board
55686
The virgin mary
mk243
1511-1512
120x90cm
55687
The virgin mary
mk243
1511-1512
320x194cm
Oil on canvas
55688
The virgin mary
mk243
1511-1512
Oil on canvas
55700
The virgin mary
mk243
1513-1514
265x196cm
Oil on canvas
55711
The virgin mary
mk243
1504
55714
The virgin mary
mk243
1506
55668
The virgin mary and John
mk243
1507
107x77cm
55650
The virgin mary on the grass
mk243
1506
113x88cm
Oil on board
55638
The virgin mary and christ
mk243
1496-1497
97x67cm
55715
The virgin mary and John
mk243
17.3x21cm
55690
The virgin mary and younger John
mk243
1514
66x51cm
Oil on canvas
55692
The virgin mary in the chair
mk243
1514
Oil on board
55693
The virgin mary in the chair
mk243
1514
Oil on board
88341
The Vision of Ezekiel
1518(1518)
Medium Oil on wood
cyf
63819
Theological Virtues
1507 Oil on wood, 16 x 44 cm (each) Pinacoteca, Vatican The three compositions (Faith, Hope and Charity), executed in a delicate monochrome, formed the predella belonging to the Entombment now in the Borghese Gallery, Rome. Both the main panel and the predella were carried from Perugia to Rome by Pope Paul V. They were replaced by copies in 1608.Artist:RAFFAELLO Sanzio Title: Theological Virtues Painted in 1501-1550 , Italian - - painting : mythological
55663
Theology
mk243
1508
55667
Theology
mk243
1507
16x44cm
63796
Theology
1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican Theology's veil is white, her cloak green, and her dress red, the colours of the theological Virtues (Faith, Hope, and Charity). She is holding a book in her left hand and is pointing with her right hand at the fresco of the Disputa below. Two putti are holding blue tablets with the golden inscriptions Divinar, Rer and Notitia ("Knowledge of Divine Things").Artist:RAFFAELLO Sanzio Title: Theology (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
55647
Three woman
mk243
1504-1505
17x17cm
Oil on board
57240
Together with a friend of a self-portrait
mk255 for in 1519. 0.99 x 0.83 meters canvas. Paris Louvre
51242
View of the Stanza di Eliodoro
c. 1512
55642
Virgin Mary
mk243
1504
55653
Virgin Mary and her son
mk243
1506
274x152cm
51249
Vision of the Cross
1520-24
Fresco Stanza di Constantino
63807
Vision of the Cross
1520-24 Fresco Stanza di Constantino, Palazzi Pontifici, Vatican The view of the "Tomb-pyramid of Romulus", which is no longer there, and the so-called Citadel of Sant'Angelo together with the bridge of Sant'Angelo, is an example of Raphael's interest in ancient Rome. The view Raphael has chosen more or less matches the view he had of Rome in 1520 from his Vatican loggie, which are located right behind the wall painted with the fresco. The Citadel of Sant'Angelo appears to be Raphael's reconstruction of the original ancient building, the erstwhile Hadrian Mausoleum, as it might have looked in the days of Emperor Constantine. By depicting this view of ancient Rome, Raphael is suggesting to anyone viewing that fresco that Constantine experienced his vision in the precise place where the Vatican State is now located. By this means Raphael was able to confirm in a very subtle manner, that the Popes had established themselves in Rome - more specifically - in the Vatican.Artist:RAFFAELLO Sanzio Title: Vision of the Cross (detail) Painted in 1501-1550 , Italian - - painting : historical
88268
Visitation
1517(1517)
Medium Oil on canvas
Dimensions 200 x 145 cm (78.7 x 57.1 in)
cjr
51295
Waist-length Figure of a Young Woman
1506
Pen and ink over stylus underdrawing, .
262 x 189 mm
55694
Ware
mk243
1514-1515
55703
Wearing veil woman
mk243
1516
Oil on board
55641
Wedding
mk243
1504
170x117cm
Oil on board
63780
Woman with a Veil
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
8727
Young Man with an Apple
1505
Oil on wood, 47 x 35 cm
Galleria degli Uffizi, Florence
88336
Young Man with an Apple
1505(1505)
Medium Oil on wood
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