Choice ID Image Painting (From A to Z) Details
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
51224
Madonna of Belvedere
1506
Oil on wood,
113 x 88 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
30964
Portrait de l'artiste avec un ami
mk70
Toile
H.0.99
L.0.83
Paris,Musee du Louvre
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
30965
Saint-Michel
mk70
Bois
H.0.30
L.0.25
Paris,Musee du Louvre
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
51223
St George Fighting the Dragon
1505
Oil on wood,
32 x 27 cm
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
