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RAFFAELLO Sanzio
Portrait of cardinal
mk243
1510-1511
Oil on board
79x61cm
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RAFFAELLO Sanzio
The virgin mary
mk243
1511
160x126cm
Oil on board
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RAFFAELLO Sanzio
Augur
mk243
1511-1512
250x155cm
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RAFFAELLO Sanzio
The virgin mary
mk243
1511-1512
120x90cm
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RAFFAELLO Sanzio
The virgin mary
mk243
1511-1512
320x194cm
Oil on canvas
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RAFFAELLO Sanzio
The virgin mary
mk243
1511-1512
Oil on canvas
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RAFFAELLO Sanzio
Portrait of Yoliersi
mk243
1512
107x80cm
Oil on board
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RAFFAELLO Sanzio
The virgin mary and younger John
mk243
1514
66x51cm
Oil on canvas
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RAFFAELLO Sanzio
Psychic and angel
mk243
1514-1515
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RAFFAELLO Sanzio
The virgin mary in the chair
mk243
1514
Oil on board
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RAFFAELLO Sanzio
The virgin mary in the chair
mk243
1514
Oil on board
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RAFFAELLO Sanzio
Ware
mk243
1514-1515
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RAFFAELLO Sanzio
Atila
mk243
1514
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RAFFAELLO Sanzio
Fire
mk243
1514
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RAFFAELLO Sanzio
Miraculous Fisherman
mk243
1515
360x400cm
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RAFFAELLO Sanzio
Miraculous Fisherman
mk243
1515
360x400cm
temper
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RAFFAELLO Sanzio
Chimera
mk243
1514
220x136cm
Oil on board
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RAFFAELLO Sanzio
The virgin mary
mk243
1513-1514
265x196cm
Oil on canvas
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RAFFAELLO Sanzio
Heal foot
mk243
1515
390x520cm
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RAFFAELLO Sanzio
Portrait of Badashalei
mk243
1514-1515
82x67cm
Oil on canvas
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| RAFFAELLO Sanzio
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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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