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The Transfiguration is the last painting by the Italian High Renaissance master Raphael.Cardinal Giulio de Medici – who later became Pope Clement VII (in office: 1523–1534) – commissioned the work, conceived as an altarpiece for Narbonne Cathedral in France; Raphael worked on it in the years preceding his death in 1520. [1]
1518–1520: Holy Family Under an Oak Tree: Museo del Prado, Madrid, Spain: Oil on panel 144 x 110 1520: La fornarina: Palazzo Barberini, Rome, Italy: Oil on panel 87 x 63 1516–1520: The Transfiguration: Vatican Museums ., Vatican City: Tempera on panel 410 x 279
The upper part of The Transfiguration (1520) by Raphael, depicting Christ miraculously discoursing with Moses and Elijah. Palamism, Gregory Palamas' theology of divine "operations", was never accepted by the Scholastic theologians of the Latin Catholic Church, who maintained a strong view of the simplicity of God, conceived as Actus purus.
The Transfiguration, by Raphael, 1520. Commissioned by Cardinal Giulio de' Medici. Cardinal Giulio's other endeavors on behalf of Pope Leo X were similarly successful, such that "he had the credit of being the prime mover of papal policy throughout the whole of Leo's pontificate". [36]
Raphael's use of color in the "Transfiguration of Jesus" reflects this tradition, as he employs vivid hues to symbolize the divine light that surrounds Christ during his transfiguration. The brilliant white of Christ's robes, the golden-yellow of his halo, and the bright blue of the sky behind him all serve to emphasize the ethereal nature of ...
The Portrait of a Young Woman (also known as La fornarina) is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519.It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.
Raphael, Disputation of the Holy Sacrament, 1509-1510. The first composition Raphael executed between 1509 and 1510 [7] was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.
The portrait was produced as a result of Raphael's friendship with Castiglione, whose ascent in courtly circles paralleled that of the artist. They were close friends by 1504, when Castiglione made his second visit to Urbino, as Raphael was gaining recognition as an artist in the humanist circle of the city's ducal court. [1]