All RAFFAELLO Sanzio Oil Paintings

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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RAFFAELLO Sanzio Justinian Presenting the Pandects to Trebonianus oil on canvas


Justinian Presenting the Pandects to Trebonianus
Justinian Presenting the Pandects to Trebonianus
Painting ID::  63810 		  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
  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

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RAFFAELLO Sanzio Gregory IX Approving the Decretals oil on canvas


Gregory IX Approving the Decretals
Gregory IX Approving the Decretals
Painting ID::  63811 		  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
  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

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RAFFAELLO Sanzio Decoration of the Loggetta oil on canvas


Decoration of the Loggetta
Decoration of the Loggetta
Painting ID::  63812 		  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
  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

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RAFFAELLO Sanzio La Disputa oil on canvas


La Disputa
La Disputa
Painting ID::  63813 		  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
  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

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RAFFAELLO Sanzio La Disputa oil on canvas


La Disputa
La Disputa
Painting ID::  63814 		  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
  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

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     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,

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