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 The Fire in the Borgo oil on canvas


The Fire in the Borgo
The Fire in the Borgo
Painting ID::  63790 		  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
  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

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RAFFAELLO Sanzio The Fire in the Borgo oil on canvas


The Fire in the Borgo
The Fire in the Borgo
Painting ID::  63791 		  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
  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

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RAFFAELLO Sanzio The Expulsion of Heliodorus from the Temple oil on canvas


The Expulsion of Heliodorus from the Temple
The Expulsion of Heliodorus from the Temple
Painting ID::  63792 		  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
  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

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RAFFAELLO Sanzio The Expulsion of Heliodorus from the Temple oil on canvas


The Expulsion of Heliodorus from the Temple
The Expulsion of Heliodorus from the Temple
Painting ID::  63793 		  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
  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

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RAFFAELLO Sanzio Philosophy oil on canvas


Philosophy
Philosophy
Painting ID::  63794 		  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
  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

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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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