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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RAFFAELLO Sanzio St Sebastian oil


St Sebastian
Painting ID::  8705 		St Sebastian
1501-02 Oil on wood, 43 x 34 cm Accademia Carrara, Bergamo
   
   
     
RAFFAELLO Sanzio Angel (fragment of the Baronci Altarpiece) dg oil


Angel (fragment of the Baronci Altarpiece) dg
Painting ID::  8706 		Angel (fragment of the Baronci Altarpiece) dg
1500-01 Oil on wood, 31 x 27 cm Pinacoteca Tosio Martinengo, Brescia
   
   
     
RAFFAELLO Sanzio Crucifixion (Citt di Castello Altarpiece) g oil


Crucifixion (Citt di Castello Altarpiece) g
Painting ID::  8707 		Crucifixion (Citt di Castello Altarpiece) g
1502-03 Oil on wood, 281 x 165 cm National Gallery, London
   
   
     
RAFFAELLO Sanzio The Crowning of the Virgin (Oddi altar) oil


The Crowning of the Virgin (Oddi altar)
Painting ID::  8708 		The Crowning of the Virgin (Oddi altar)
1502-03 Oil on canvas, 267 x 163 cm Pinacoteca, Vatican
1502-03 Oil_on_canvas,_267_x_163_cm Pinacoteca,_Vatican
   
   
     
RAFFAELLO Sanzio The Annunciation (Oddi altar, predella) t oil


The Annunciation (Oddi altar, predella) t
Painting ID::  8709 		The Annunciation (Oddi altar, predella) t
1502-03 Oil on canvas, 27 x 50 cm Pinacoteca, Vatican
1502-03 Oil_on_canvas,_27_x_50_cm Pinacoteca,_Vatican
   
   
     
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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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