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Christof Thoenes observes: "However unabashedly Raphael adopts the pose, compositional framework and spatial organization of the Leonardo portrait...the cool watchfulness in the young woman's gaze is very different" from the "enigmatic ambiguity" of Mona Lisa. [2] The work was of uncertain attribution until recent times.
"La Fornarina (The Portrait of a Young Woman) is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519. It is an oil-on-panel with 86 x 58 cm dimensions, located in Room IX of the Borghese Gallery.In Olimpia Aldobrandini's two inventories (1626 and 1682), the art work is attributed to Raphael.
The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino. The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences.
Ingres used Raphael's own self-portrait, located in the Uffizi, as his model for the painter. [9] Ingres focused on details in creating the work. [ 17 ] The contrast between the living, breathing Fornarina as opposed to the idealized Fornarina on the canvas, on the easel, is central to this painting.
Portrait of Maddalena Doni: Uffizi, Florence, Italy: Oil on panel 63 x 45 1506: Lady with a Unicorn: Galleria Borghese, Rome, Italy: Oil on panel 65 x 51 1506: The Holy Family With a Palm Tree [Wikidata] Scottish National Gallery, Edinburgh, United Kingdom: Oil and gold on canvas transferred from panel diameter 101,5 c. 1506: Self-portrait
The image depicts three of the Graces of classical mythology. It is frequently asserted that Raphael was inspired in his painting by a ruined Roman marble statue displayed in the Piccolomini Library of the Siena Cathedral—19th-century art historian [Dan K] held that it was a not very skillful copy of that original—but other inspiration is possible, as the subject was a popular one in Italy.
In March, a mother was horrified to find a pedophile symbol on a toy she bought for her daughter. Although the symbol was not intentionally placed on the toy by the company who manufactured the ...
It was painted c. 1507–1509, towards the end of Raphael's sojourn in Florence, and shows the young artist in a transitional phase. The depiction of religious passion in the painting is still reminiscent of Pietro Perugino , but the graceful contrapposto of Catherine's pose is typical of the influence of Leonardo da Vinci on Raphael, and is ...