Vilja
ID
Bild
Oljemålningar Från A to Z
Information
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
