All Raffaello's oil paintings
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63781 Madonna dell'Impannata 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 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 Madonna della Seggiola 1514(1514) Medium Oil on wood cyf
52196 Madonna della Tenda Madonna della Tenda 1514 Oil on wood, 65,8 x 51,2 cm
70241 Madonna della Tenda Madonna della Tenda Medium Oil on wood Dimensions 65,8 X 51,2 cm
51224 Madonna of Belvedere Madonna of Belvedere 1506 Oil on wood, 113 x 88 cm
86964 Madonna of Belvedere Madonna of Belvedere 1506(1506) Medium Oil on wood cyf
8741 Madonna of Loreto (Madonna del Velo) at Madonna of Loreto (Madonna del Velo) at 1509-10 Oil on wood, 120 x 90 cm Mus??e Cond??, Chantilly
89446 Madonna Solly 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 Madonna Terranuova, Szene: Maria mit Christuskind und zwei Heiligen, Tondo 1504-1505 Medium Oil on wood cjr
8738 Madonna with Beardless St Joseph sy 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 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 Madonna with the Blue Diadem between 1510(1510) and 1511(1511) Medium Oil on wood cyf
8723 Madonna with the Book (Connestabile Madonna) dy 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 Madonna with the Fish 1512-14 Oil on canvas
86662 Madonna with the Fish 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 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 Maria mit Christuskind und zwei Heiligen, Tondo Date 1504-1505 Medium Oil on wood cjr
55659 Meditation Meditation mk243 1508 120x105cm
55697 Miraculous Fisherman Miraculous Fisherman mk243 1515 360x400cm
55698 Miraculous Fisherman Miraculous Fisherman mk243 1515 360x400cm temper
52285 Moses Saved from the Water Moses Saved from the Water 1518-19 Fresco Loggia on the second floor
55680 Mountain Mountain mk243 1510-1511
55643 Mrs Yili Mrs Yili mk243 1504-1505 58x36cm
55710 Naked girl Naked girl mk243 256x163cm
55660 Original sin Original sin mk243 1508 120x105cm
55664 Philosophy Philosophy mk243 1508
63794 Philosophy 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 Poetics mk243 1508
63795 Poetry 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 Portrai ot Fidela mk243 1515-1516 90x62cm Oil on canvas
77755 Portrait de Jeanne d Aragon Portrait de Jeanne d Aragon Oil Dimensions 95 ?? 120 cm (37.4 ?? 47.2 in) cyf
30964 Portrait de l'artiste avec un ami Portrait de l'artiste avec un ami mk70 Toile H.0.99 L.0.83 Paris,Musee du Louvre
8744 Portrait of a Cardinal Portrait of a Cardinal 1510-11 Oil on wood, 79 x 61 cm Museo del Prado, Madrid
82591 Portrait of a Man 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 Portrait of a Man aet c. 1502 Oil on wood, 45 x 31 cm Galleria Borghese, Rome
63818 Portrait of a Woman 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 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 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. 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 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 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 Portrait of Agnolo Doni 1506 Oil on wood, 63 x 45 cm Galleria Palatina (Palazzo Pitti), Florence
89851 Portrait of Agnolo Doni 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 Portrait of Badashalei mk243 1514-1515 82x67cm Oil on canvas
55683 Portrait of cardinal Portrait of cardinal mk243 1510-1511 Oil on board 79x61cm
90614 Portrait of Dona Isabel de Requesens 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 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 Portrait of Duni mk243 63x45cm 1506 Oil on board
63782 Portrait of Jeanne d'Aragon 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 Portrait of Jeanne d-Aragon 1518 Oil on wood
88334 Portrait of Julius II Portrait of Julius II between 1511(1511) and 1512(1512) Medium Oil on wood cyf
55652 Portrait of Madali Portrait of Madali mk243 1506 63x45cm Oil on board
8734 Portrait of Maddalena Doni ft Portrait of Maddalena Doni ft 1506 Oil on panel, 63 x 45 cm Galleria Palatina (Palazzo Pitti), Florence
8715 Portrait of Pietro Bembo Portrait of Pietro Bembo c. 1504 Oil on wood, 54 x 69 cm Museum of Fine Arts, Budapest
87900 Portrait of Pietro Bembo Portrait of Pietro Bembo 1504(1504) Medium Oil on wood cyf
88218 Portrait of Pietro Bembo Portrait of Pietro Bembo 1504(1504) Medium Oil on wood cyf
88342 Portrait of Tommaso Inghirami Portrait of Tommaso Inghirami between 1510(1510) and 1514(1514) Medium Oil on wood cyf
55648 Portrait of woman Portrait of woman mk243 1505-1506 66x52cm Oil on canvas
55689 Portrait of Yoliersi Portrait of Yoliersi mk243 1512 107x80cm Oil on board
55649 Portrait of younger woman Portrait of younger woman mk243 1505-1506 65x51cm Oil on canvas
82205 Portrat des Fedra Inghirami 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 Portrat des Papstes Leo X 1518-1519 Medium Deutsch: Öl auf Holz cyf
85950 Portrat einer jungen Frau Portrat einer jungen Frau between 1518(1518) and 1519(1519) Medium Oil on wood cyf
63801 Prime Mover 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 Psyche Offering Venus the Water of Styx 1517 Red chalk, 263 x 197 mm
55691 Psychic and angel Psychic and angel mk243 1514-1515
78687 Raffael Raffael 1518-1519 Medium Deutsch: Öl auf Holz cyf
67495 Raffaello Angelo 1 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 Retrato de Pietro Bembo Date ca. 1504(1504) Medium Oil on panel Dimensions 54 x 39 cm cjr
87741 Retrato de Pietro Bembo Retrato de Pietro Bembo 1504(1504) Medium Oil on panel Dimensions 54 x 39 cm cyf
87571 ritratto virile della galleria borghese ritratto virile della galleria borghese Oil on canvas cyf
58340 Roveredo portrait Roveredo portrait mk261 Florence about 1504 oil painting of wood 47.3 x 35.3 cm
30965 Saint-Michel Saint-Michel mk70 Bois H.0.30 L.0.25 Paris,Musee du Louvre
84111 Sao Joao Batista 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 Self-Portrait mk243 1506 45x33cm
8731 Self-Portrait er78 Self-Portrait er78 1506 Oil on wood, 45 x 33 cm Galleria degli Uffizi, Florence
55707 Shemikaier and devil Shemikaier and devil mk243 1518 268x160cm
55637 Shesibasi Shesibasi mk243 1501-1502 43x34cm Oil on board
82580 Solly Madonna 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 Spozalizio 1504(1504) Medium Oil on roundheaded panel cyf
89133 Spozalizio Spozalizio 1504(1504) Medium Oil on roundheaded panel cyf
8718 Spozalizio (detail) at Spozalizio (detail) at 1504 Oil on roundheaded panel Pinacoteca di Brera, Milan
8717 Spozalizio (detail) jkfg Spozalizio (detail) jkfg 1504 Oil on roundheaded panel Pinacoteca di Brera, Milan
8716 Spozalizio (The Engagement of Virgin Mary) af 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 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 St Catherine of Alexandria 1508(1508) Medium Oil on wood cyf
63785 St Cecilia 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 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 St George and the Dragon 1505-06 Oil on wood, 28.5 x 21.5 cm
8725 St George and the Dragon st 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 St George Fighting the Dragon 1505 Oil on wood, 32 x 27 cm
88329 St George Fighting the Dragon St George Fighting the Dragon between 1503(1503) and 1505(1505) Medium Oil on wood cyf
51263 St John the Baptist St John the Baptist c. 1518 Oil on canvas, 165 x 147 cm
88330 St Michael and the Dragon St Michael and the Dragon between 1503(1503) and 1505(1505) Medium Oil on wood cyf
8726 St Michael and the Dragon sdr 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 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 St Paul Preaching in Athens Tempera on paper, mounted on canvas, 390 x 440 cm
8705 St Sebastian St Sebastian 1501-02 Oil on wood, 43 x 34 cm Accademia Carrara, Bergamo
84559 St Sebastian St Sebastian Date between 1501(1501) and 1502(1502) Medium Oil on wood cjr
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Raffaello
Italian painter , 1483-1520 was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. . Related Artists to RAFFAELLO Sanzio : | Archduke Rudolf of Austria | Perez, Antonio Gisbert | William Griffith | NIEULANDT, Adriaen van | William Matthew Prior |