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Metropolitan Museum of Art, New York, United States: Oil and gold on panel 169,5 x 168,9 c. 1504 The Agony in the Garden [Wikidata] Metropolitan Museum of Art, New York, United States: Oil on panel 24,1 x 28,9 Lamentation over the Dead Christ (Raphael) [Wikidata] Isabella Stewart Gardner Museum, Boston, United States: Oil on panel 23,5 x 28,8 c ...
Paintings by Raphael (1483−1520) — the renowned Italian Renaissance painter. Subcategories. This category has the following 5 subcategories, out of 5 total. ...
Another of Leonardo's compositional inventions, the pyramidal Holy Family, was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost Leda and the Swan, from which he adapted the contrapposto pose of his own Saint Catherine of Alexandria. [30]
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]
Painting Raphael: Self-portrait with a friend: Painting Raphael: Saint George: Painting Raphael: St. Michael: Painting Raphael: St. Michael Vanquishing Satan: Painting Raphael: Portrait of Balthasar Castiglione: Painting Raphael: Marie de' Medici cycle: Painting Peter Paul Rubens: The Astronomer: Painting Johannes Vermeer: The Code of Hammurabi ...
An array of Renaissance artists were brought in to decorate Santa Maria del Popolo, beginning with Raphael. [21] Both paintings by Raphael, Julius II and the Madonna were hung on pillars during feast days [22] [23] or high holy days. [17] The two paintings, nearly the same size, seem as if they were meant to complement each other.
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]
The painting possesses an esthetic influence from Pinturicchio and Melozzo da Forlì, though the spatial orchestration of the work, with its tendency to movement, shows Raphael's knowledge of the Florentine artistic milieu of the 16th century. [2] The work was acquired by the São Paulo Museum of Art in 1954.
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