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Raphael at the Vatican (French: Raphaël au Vatican) is an 1832 history painting by the French artist Horace Vernet. It depicts an encounter in Rome between the Renaissance artists Raphael and Michelangelo. It was inspired by a passage in the biography of Raphael written by Quatremère de Quincy.
With Michelangelo providing drawings for the latter work, Medici was rekindling the rivalry initiated a decade earlier between Michelangelo and Raphael, in the Stanze and Sistine Chapel. [4] From 11 to 12 December 1516, Michelangelo was in Rome to discuss with Pope Leo X and Cardinal Medici the facade of the Basilica of San Lorenzo in
Other figures in that and later paintings in the room show the same influences, but as still cohesive with a development of Raphael's own style. [41] Michelangelo accused Raphael of plagiarism and years after Raphael's death, complained in a letter that "everything he knew about art he got from me", although other quotations show more generous ...
It was commissioned by Cardinal Giulio de' Medici, then Archbishop of Narbonne and later Pope Clement VII (r. 1523–24), in what was effectively a contest engineered by Michelangelo, using Sebastiano as "a kind of deputy", [1] or "cat's paw", [2] in a rivalry between the two and Raphael, whose Transfiguration (now in the Vatican Pinacoteca) is ...
Together with Michelangelo and Leonardo da Vinci he forms the traditional trinity of great masters of that period. He was enormously prolific. He was enormously prolific. Despite his early death at 37, a large body of work remains, especially in the Vatican, where Raphael and a large team of assistants, executing his drawings under his ...
The famous frescoes of Michelangelo in the Sistine Chapel and the Raphael Rooms in the Apostolic Palace, the Court of St. Damasus with its loggias, the Via Giulia and Via della Lungara, even the statue of Moses which graces his tomb in the church of San Pietro in Vincoli, are lasting witnesses of his great love of art. [20]
Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look.
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.