2435:
2068:
2032:
2413:
1964:
1041:
2212:
2080:
866:
1481:
1461:. In 1515, he was given powers as Prefect over all antiquities unearthed within, or a mile outside the city. Anyone excavating antiquities was required to inform Raphael within three days, and stonemasons were not allowed to destroy inscriptions without permission. Raphael wrote a letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The pope intended to continue to re-use ancient masonry in the building of St Peter's, also wanting to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused.
2056:
629:
2134:
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1623:
1947:
1088:
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198:
2044:
515:
1290:
1273:
482:
795:
1256:
818:
1907:
1188:. Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael's last pope, the
1145:
1890:
1686:
1242:
2506:
2254:
2231:
2396:
1665:
1644:
2379:
1985:
2367:
911:
844:
469:
1066:
888:
2273:
6639:
1016:
1930:
1311:
2539:
judgment, with which he united to his own observations on nature the energy of
Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first. But if, according to
40:
2490:
1381:
2301:, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Bibbiena's niece; he seems to have been talked into this by his friend the cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she died in 1520. He is said to have had many affairs, but a permanent fixture in his life in Rome was "La Fornarina",
6651:
1827:
were sufficiently skilled that distinguishing between their hands and that of
Raphael himself is still sometimes difficult, there is no doubt that many of Raphael's later wall-paintings, and probably some of his easel paintings, are more notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life.
2327:, April 6, 1520, which was possibly his 37th birthday. Vasari says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28, and that the artist died from exhaustion brought on by unceasing romantic interests while he was working on the Loggia. Several other possibilities for his death have been raised by later historians and scientists, such as a combination of an infectious disease and
950:, who returned to the city from 1500 to 1506. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed
2743:
soon after 10.00 pm. The coincidence noted between the birth-date and death-date is usually thought in this case (since it refers to the Friday and
Saturday in Holy Week, the movable feast rather than the day of the month) to fortify the argument that Raphael was also born on Good Friday, i.e., 28 March 1483. But there is a notable ambiguity in Michiel's note, not often noticed:
1325:. Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by
1235:, "Raphael gives his a superhuman clarity and grace in a universe of Euclidian certainties". The painting is nearly all of the highest quality in the first two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are not entirely as successful either in conception or their execution by the workshop.
1799:, already a Florentine master. They were left many of Raphael's drawings and other possessions, and to some extent continued the workshop after Raphael's death. Penni did not achieve a personal reputation equal to Giulio's, as after Raphael's death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career.
938:: "The bearer of this will be found to be Raphael, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father was most worthy and I was very attached to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love..."
681:, who acted as court painter in Urbino from 1495. Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to
1472:, Raphael's "youthful death saddened men of letters because he was not able to furnish the description and the painting of ancient Rome that he was making, which was very beautiful". Raphael intended to make an archaeological map of ancient Rome but this was never executed. Four archaeological drawings by the artist are preserved.
1129:. This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor,
2176:, who had worked much less successfully with Raimondi. A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving.
415:. He died when Raphael was eleven, and Raphael seems to have played a role in managing the family workshop from this point. He trained in the workshop of Perugino, and was described as a fully trained "master" by 1500. He worked in or for several cities in north Italy until in 1508 he moved to Rome at the invitation of
2025:(literally a sharp pointed piece of silver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk. In his final years he was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes.
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And as I told you, these are the two secondary causes of the decline of art; the first being the loss of moral purpose. Pray note them clearly. In mediæval art, thought is the first thing, execution the second; in modern art execution is the first thing, and thought the second. And again, in mediæval
933:
Raphael led a "nomadic" life, working in various centres in
Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period" of about 1504–1508, he was possibly never a continuous resident there. He may have needed to
2742:
Whereas
Michiel said he died on his birthday. Art historian John Shearman addressed this apparent discrepancy: "The time of death can be calculated from the convention of counting from sundown, which Michaelis puts at 6.36 on Friday 6 April, plus half-an-hour to Ave Maria, plus three hours, that is,
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in 1952 termed
Raphael the "most famous and most loved" master of the High Renaissance, art historians Leopold and Helen Ettlinger say that Raphael's lesser popularity in the 20th century is made obvious by "the contents of art library shelves ... In contrast to volume upon volume that reproduce yet
2579:
The doom of the arts of Europe went forth from that chamber , and it was brought about in great part by the very excellencies of the man who had thus marked the commencement of decline. The perfection of execution and the beauty of feature which were attained in his works, and in those of his great
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the opinion ...was generally held in the middle of the sixteenth century that
Raphael was the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more
2020:
In later works painted by the workshop, the drawings are often painfully more attractive than the paintings. Most
Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and
1787:
painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of
1198:
In the course of painting the room, Raphael was clearly influenced by
Michelangelo's Sistine Chapel ceiling. Vasari said Bramante let him into the chapel secretly. Raphael completed the first section of his work in 1511 and the reaction of other artists to the daunting force of Michelangelo was the
651:
Raphael's mother Màgia died in 1491 when he was eight, followed on August 1, 1494, by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle, Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. The
2008:
When a final composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching
2000:
in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether. He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how
1995:
Raphael was one of the finest draftsmen in the history of
Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly",
1211:
of the Sistine ceiling. 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. Michelangelo accused Raphael of plagiarism and years after Raphael's death, complained in a letter that "everything he knew about
2547:
Reynolds was less enthusiastic about Raphael's panel paintings, but the slight sentimentality of these made them enormously popular in the 19th century: "We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the world has ever
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praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of the first painters", especially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention. He did not possess so many excellences as Raffaelle, but
1826:
Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants—a contrast with the stormy pattern of Michelangelo's relationships with both. However though both Penni and Giulio
987:
Leonardo was more than thirty years older than Raphael, but Michelangelo, who was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike Raphael even more, attributing conspiracies against him to the younger man. Raphael would
689:
claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh
2538:
The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and the skilful accommodation of other men's conceptions to his own purpose. Nobody excelled him in that
1125:, who came from just outside Urbino and was distantly related to Raphael. Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons, Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the
3241:
Julius was no great reader—an inventory compiled after his death has a total of 220 books, large for the time, but hardly requiring such a receptacle. There was no room for bookcases on the walls, which were in cases in the middle of the floor, destroyed in the 1527 Sack of Rome. Jones &
616:, were already becoming well known as writers, and would later be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full
567:– and who died the year before Raphael was born. The emphasis of Federico's court was more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for
1338:
He designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces.
1199:
dominating question in Italian art for the following few decades. Raphael, who had already shown his gift for absorbing influences into his own personal style, rose to the challenge perhaps better than any other artist. One of the first and clearest instances was the portrait in
676:
as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed; eight was very early for an apprenticeship to begin. An alternative theory is that the boy received at least some training from
2924:
Britannica online, "High Renaissance": "High Renaissance art, which flourished for about 35 years, from the early 1490s to 1527, when Rome was sacked by imperial troops, revolved around three towering figures: Leonardo da Vinci (1452–1519), Michelangelo (1475–1564), and Raphael
2597:
again detailed photographs of the Sistine Ceiling or Leonardo's drawings, the literature on Raphael, particularly in English, is limited to only a few books". They conclude, nonetheless, that "of all the great Renaissance masters, Raphael's influence is the most continuous."
4582:
590:, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by
3724:
2335:, and put his affairs in order. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the
719:, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the
941:
As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of
656:
drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of
461:. After his early years in Rome, much of his work was executed by his 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
2001:
Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done." wrote another writer after his death. For
493:
After his death, the influence of his great rival Michelangelo exceeded his until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. Thanks to the influence of art historian
2205:, called "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his money, ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.
2211:
983:
modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings.
1361:
for St. Peter's, but drawings of the façade and courtyard remain. The façade was an unusually richly decorated one for the period, including both painted panels on the top story (of three), and much sculpture on the middle one.
3887:"Il Baviera" may mean "the Bavarian"; if he was German, as many artists in Rome were, this would have been helpful during the 1527 Sack; Marcantonio had many printing-plates looted from him. Jones and Penny:82, see also Vasari
1231:, achieve "sprezzatura", a term invented by his friend Castiglione, who defined it as "a certain nonchalance which conceals all artistry and makes whatever one says or does seem uncontrived and effortless ...". According to
1040:
2543:, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference.
1782:
Vasari says that Raphael eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single
430:
Raphael was enormously productive, running an unusually large workshop and, despite his early death at 37, leaving a large body of work. His career falls naturally into three phases and three styles, first described by
2067:
652:
boy probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A
998:
to spread the figures across the front of the picture space in a complex and not wholly successful arrangement. Wöllflin detects in the kneeling figure on the right the influence of the Madonna in Michelangelo's
604:, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. Raphael became close to other regular visitors to the court:
865:
2464:
brilliant than any other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to the great artist. Those, like
2021:
sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use
1622:
1403:. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which
1289:
2711:
were present, and seems to have viewed them as being at an equivalent level in artistic skill. After Leonardo left for Milan, Santi chose Perugino from one of two available artists to teach his son.
5733:
3696:
2580:
contemporaries, rendered finish of execution and beauty of form the chief objects of all artists; and thenceforward execution was looked for rather than thought, and beauty rather than veracity.
1195:, with whom Raphael formed an even closer relationship, and who continued to commission him. Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor.
2031:
3804:
Photographs do not show these well, if at all. Leonardo sometimes used a blind stylus to outline his final choice from a tangle of different outlines in the same drawing. Pon:106–110.
2412:
427:. He was given a series of important commissions there and elsewhere in the city, and began to work as an architect. He was still at the height of his powers at his death in 1520.
2517:. His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired. He was seen as the best model for the
6613:
2482:
3206:
2395:
1005:, but the rest of the composition is far removed from his style, or that of Leonardo. Though highly regarded at the time, and much later forcibly removed from Perugia by the
2320:. Vasari claims that he had toyed with the ambition of becoming a cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.
2201:
were also especially well known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century.
1513:, the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. Other rulers pressed for work, and King
2230:
2588:
By 1900, Raphael's popularity was surpassed by Michelangelo and Leonardo, perhaps as a reaction against the etiolated Raphaelism of 19th-century academic artists such as
2584:
art, truth is first, beauty second; in modern art, beauty is first, truth second. The mediæval principles led up to Raphael, and the modern principles lead down from him.
1963:
2434:
2747:, may also be taken to mean that his birthday was on Saturday, and in that case the awareness could as well be the date, thus producing a birth-date of 7 April 1483."
934:
visit the city to secure materials in any case. There is a letter of recommendation of Raphael, dated October 1504, from the mother of the next Duke of Urbino to the
817:
3845:
2079:
2133:
887:
1399:, was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by
2733:
Raphael's age at death is debated by some, with Michiel asserting that Raphael died at 34, while Pandolfo Pico and Girolamo Lippomano argue that he died at 33.
2100:
1643:
2756:
Bufarale (1915) "diagnosed pneumonia or a military fever" while Portigliotti suggested pulmonary disease. Joannides stated that "Raphael died of over-work."
2480:
Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the
1807:, who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right. Polidoro's partner,
3552:
Jones & Penny:235–46, though the relationship of Raphael to Mannerism, like the definition of Mannerism itself, is much debated. See Craig Hugh Smyth,
1065:
3693:
1418:, for which he was accumulating the land in his last years. It was on an irregular island block near the river Tiber. It seems all façades were to have a
1087:
1377:, was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time.
443:, followed by his last hectic and triumphant twelve years in Rome, working for two popes and their close associates. Many of his works are found in the
1685:
794:
2118:
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2346:, four cardinals dressed in purple carried his body, the hand of which was kissed by the Pope. The inscription on Raphael's marble sarcophagus, an
1170:
after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing
3707:
2447:
Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo.
575:
as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters.
5794:
4136:
2571:), seeking to return to styles that pre-dated what they saw as his baneful influence. According to a critic whose ideas greatly influenced them,
1447:
into Italian; this he received around the end of August 1514. It is preserved at the Library in Munich with handwritten margin notes by Raphael.
3588:
3525:, for which Raphael sent an assistant to Naples to make a drawing, and probably left most of the painting to the workshop. Jones & Penny:163
2378:
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reveal a cancerous breast tumour detailed and disguised in a classic pose of love. "The Portrait of Breast Cancer and Raphael's La Fornarina",
1650:
1604:
1574:. It is possible that Raphael saw the finished series before his death—they were probably completed in 1520. He also designed and painted the
2357:, reads: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."
2140:
1468:'s diary, in 1519 Raphael offered to transport an obelisk from the Mausoleum of August to St. Peter's Square for 90,000 ducats. According to
571:-like court entertainments. His poem to Federico shows him as keen to demonstrate awareness of the most advanced North Italian painters, and
3002:
1946:
1906:
2867:
2455:, took art "in a direction totally opposed" to Raphael's qualities; "with Raphael's death, classic art—the High Renaissance—subsided", as
5912:
2253:
1331:
744:, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite
6310:
5904:
2798:
Jones and Penny, p. 171. The portrait of Raphael is probably "a later adaptation of the one likeness which all agree on": that in
1015:
843:
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The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes
1255:
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have been aware of his works in Florence, but in his most original work of these years, he strikes out in a different direction. His
594:. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through
3210:
2366:
6726:
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1866:(Giulio's brother-in-law). The printmakers and architects in Raphael's circle are discussed below. It has been claimed the Flemish
702:, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500.
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5928:
5752:
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2948:. p. 39 on the population, as a "few thousand" at most; even today it is only 15,000 without the students of the University.
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as his death (he died three hours after the Ave Maria of Good Friday). It is not possible for both these birth dates to be true.
1913:
1350:
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1889:
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New catalogue raisonné in several volumes, still being published, Jürg Meyer zur Capellen, Stefan B. Polter, Arcos, 2001–2008
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Jones and Penny:226–34; Raphael left a long letter describing his intentions to the Cardinal, reprinted in full on pp. 247–48
1819:
work and grotesques surrounding the main frescoes. Most of the artists were later scattered, and some killed, by the violent
960:, was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the
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873:
730:
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those he had were of the highest kind..." Echoing the sixteenth-century views above, Reynolds goes on to say of Raphael:
4526:
1539:. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.
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361:
267:
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to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the
2013:, and in the originals of many drawings. The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue
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1314:
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One surviving preparatory drawing appears to be mostly by Raphael; quotation from Vasari by – Jones and Penny:20
2331:. In his acute illness, which lasted fifteen days, Raphael was composed enough to confess his sins, receive the
1480:
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The main designs for the Villa Farnesina were not by Raphael, but he did design, and decorate with mosaics, the
1241:
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The original (in Latin): "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori".
1896:
1137:, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the
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4659:
4511:, catalogue raisonné by Luitpold Dussler published in the United States by Phaidon Publishers, Inc., 1971,
2606:
1113:
In 1508, Raphael moved to Rome, where he resided for the rest of his life. He was invited by the new pope,
1078:
965:
572:
3572:
Roy, A., Spring, M., Plazzotta, C. 'Raphael's Early Work in the National Gallery: Paintings before Rome'.
1215:
These very large and complex compositions have been regarded ever since as among the supreme works of the
776:, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the
628:
5859:
5836:
5074:
4761:
4592:
2614:, a close friend of Raphael whose paintings have often been mistaken for those of the better-known artist
2420:
1510:
956:, but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal
946:, who Vasari says was a friend of Raphael. But the most striking influence in the work of these years is
685:. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern
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2316:" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal
1953:
1936:
1823:. This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond.
1547:
1506:
1498:
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503:
495:
4133:
1009:, it stands rather alone in Raphael's work. His classicism would later take a less literal direction.
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at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style
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Riva, Michele Augusto; Paladino, Maria Emilia; Motta, Marco; Belingheri, Michael (January 1, 2021).
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The enigmatic relationship is discussed at length by both Landau and Pon in her Chapters 3 and 4.
3006:
2172:. His interest was unusual in such a major artist; from his contemporaries it was only shared by
1792:
1322:
1122:
548:
6506:
4387:
Raffaello nei documenti nelle testimonianze dei contemporanei e nella letturatura del suo secolo
1457:
6548:
6513:
6419:
6105:
5468:
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4852:
2005:, Raphael's art marks "a shift of resources away from production to research and development".
1804:
1536:
1532:
1415:
1247:
1166:
1154:
1138:
750:
613:
595:
502:, but his techniques would later be explicitly and emphatically rejected by groups such as the
458:
222:; March 28 or April 6, 1483 – April 6, 1520), now generally known in English as
5203:
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from the Pope. For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the
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depiction of the forms represented, and the compositions, though very carefully conceived in
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Raphael's funeral was extremely grand, attended by large crowds. According to a journal by
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915:
736:
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453:
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4294:; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe;
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Raphael's compositions were always admired and studied, and became the cornerstone of the
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put it. He was soon seen as the ideal model by those disliking the excesses of Mannerism:
2191:(of which two virtually identical versions were engraved). Among prints of the paintings
1820:
1808:
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of areas of paint in the works of both masters. The Perugino workshop was active in both
19:
This article is about the Italian Renaissance painter and architect. For other uses, see
4100:
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The direct transmission of training can be traced to some surprising figures, including
740:. He very probably also visited Florence in this period. These are large works, some in
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2690:(March 28, 1483), but the inscription on his tomb states that he was born on the same
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According to Vasari, Raphael's father placed him in the workshop of the Umbrian master
583:
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is admired for its clarity of form, ease of composition, and visual achievement of the
4496:
The Raphael Trail: The Secret History of One of the World's Most Precious Works of Art
6358:
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2708:
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2014:
2009:
lines which leave only an indentation, but no mark. These can be seen on the wall in
1867:
1812:
1730:. His palette was rich and he used almost all of the then available pigments such as
1629:
1523:
1434:
1130:
947:
439:, then a period of about four years (1504–1508) absorbing the artistic traditions of
397:
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Jones & Penny:49, differing somewhat from Gould:208 on the timing of his arrival
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4593:
Birthplace Museum of Raphael, Urbino, on the Artist's Studio Museum Network website
4587:
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4278:
Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print
4163:
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2593:
2518:
2505:
2343:
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1855:
1847:
1835:
1543:
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1396:
1300:, 1514, Stanza dell'incendio del Borgo, painted by the workshop to Raphael's design
961:
834:
825:
748:
in these years, probably mostly for the connoisseurs in the Urbino court, like the
745:
721:
547:
was court painter to the Duke. The reputation of the court had been established by
535:
Raphael was born in the small but artistically significant central Italian city of
420:
385:
284:
278:
235:
218:
161:
4052:
788:. He was evidently already much in demand even at this early stage in his career.
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6414:
6399:
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6256:
6219:
6193:
6171:
5498:
5332:
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5142:
4168:
Italian Painters of the renaissance, Vol 2 Florentine and Central Italian Schools
4140:
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3711:
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3332:
3265:
2871:
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2286:
2260:
2089:
1800:
1759:
1735:
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1655:
1634:
1592:
1576:
1528:
1518:
1220:
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1023:
785:
673:
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605:
229:
138:
66:
1984:
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6424:
6384:
6235:
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6188:
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3926:
Art historians and doctors debate whether the right hand on the left breast in
3681:
2849:
2805:
2721:
2494:
2469:
2465:
2347:
2336:
1851:
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art themselves, which are often very difficult to assign to a particular hand.
1571:
1563:
1555:
1494:
1410:
Only some floor-plans remain for a large palace planned for himself on the new
1370:
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560:
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Jones & Penny:205 The letter may date from 1519, or before his appointment
1811:, has, like Penni, been overshadowed in subsequent reputation by his partner.
468:
451:
were the central, and the largest, work of his career. The best known work is
6665:
6554:
6469:
6429:
6404:
5880:
5871:
5283:
4723:
4371:
4314:
4192:
3999:
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3343:
2193:
2002:
1455:
In about 1510, Raphael was asked by Bramante to judge contemporary copies of
1310:
1232:
1212:
art he got from me", although other quotations show more generous reactions.
1178:
1161:
1149:
761:
686:
658:
653:
448:
408:
133:
4509:
Raphael: A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries
2844:
2406:, 1514, lost during the Second World War. Possible self-portrait by Raphael.
2272:
6602:
6343:
6243:
6161:
6122:
5767:
5377:
4007:
3928:
3058:
contrasting him with Leonardo and Michelangelo in this respect. Wölfflin:73
2915:
2567:
explicitly reacted against his influence (and that of his admirers such as
2514:
2354:
2328:
2277:
2108:
1996:
borrowing figures from here and there. Over forty sketches survive for the
1859:
1427:
1392:
1385:
1366:
1216:
1134:
972:
773:
678:
609:
564:
424:
401:
118:
84:
4348:
selected & ed Malcolm Bull, Penguin 1965 (page nos from BCA edn, 1979)
1795:, a young pupil from Rome (only about twenty-one at Raphael's death), and
1633:, 1512, his only major classical mythological subject, for Chigi's villa (
4291:
4213:
2687:
2572:
2489:
2324:
2309:) named Francesco Luti from Siena who lived at Via del Governo Vecchio.
1747:
1731:
1723:
1559:
1419:
1059:, using Leonardo's pyramidal composition for subjects of the Holy Family.
552:
540:
462:
4597:
6101:
6082:
4530:, Wolk-Simon, Linda. (2006). New York: The Metropolitan Museum of Art.
3976:"The death of Raphael: a reflection on bloodletting in the Renaissance"
3934:
2704:
2589:
2498:
2332:
2022:
1871:
1863:
1784:
1763:
1727:
1581:
1411:
1321:
After Bramante's death in 1514, Raphael was named architect of the new
1204:
1192:
1001:
995:
691:
2179:
The most famous original prints to result from the collaboration were
1815:
had a more independent status, and was responsible for the decorative
1596:. His last work, on which he was working up to his death, was a large
6528:
6464:
6459:
6338:
5642:
4612:
3673:
2555:
In Germany, Raphael had an immense influence on religious art of the
2448:
2165:
2017:
medium, as they were sent to Brussels to be followed by the weavers.
1751:
1743:
1613:
1608:
shows the direction his art was taking in his final years—more proto-
1554:, of which seven survive, for tapestries with scenes of the lives of
1438:
1223:, and the "classic art" of the post-antique West. They give a highly
1114:
952:
381:
5734:
Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola
4421:
4366:(in Italian). Vol. Borgo (II). Roma: Fratelli Palombi Editori.
2745:
Morse ... Venerdi Santo venendo il Sabato, giorno della sua Nativita
1430:, "a grandiloquent feature unprecedented in private palace design".
1373:, the Papal Treasurer. Another building, for Pope Leo's doctor, the
404:, he forms the traditional trinity of great masters of that period.
6288:
4385:
The standard source of biographical information is now: V. Golzio,
3416:
2769:, although there is some uncertainty as to the journal's existence.
2085:
1567:
1423:
1404:
1224:
1006:
830:
769:
699:
440:
113:
39:
4036:
4034:
1395:, a lavish hillside retreat for Cardinal Giulio de' Medici, later
1380:
1329:. It would perhaps have resembled the temple in the background of
3815:
The Art of Italy in the Royal Collection; Renaissance and Baroque
2452:
2350:
1771:
1739:
1609:
1551:
1354:
1228:
980:
777:
715:
in Città di Castello, a town halfway between Perugia and Urbino.
695:
4150:
4148:
3464:
6353:
4565:
4480:; Hugo Chapman, Tom Henry, Carol Plazzotta, Arnold Nesselrath,
4031:
2820:
2173:
1816:
1755:
1676:
1189:
897:
741:
587:
568:
536:
436:
412:
62:
6650:
3505:
3503:
2476:, unable to follow Michelangelo as he moved on into Mannerism.
4145:
3022:
2240:
1584:. He produced a number of significant altarpieces, including
765:
338:
3103:
It was later seriously damaged during an earthquake in 1789.
3973:
3955:
3500:
3488:
3476:
3452:
3428:
2073:
Marriage of Alexander and Roxana. Study for Villa Farnesina
1767:
350:
344:
326:
320:
305:
299:
256:
250:
100:
80:
4617:
4583:
Ten drawings and three paintings from the Royal Collection
1654:, 1517, brings a new degree of expressiveness to his art (
896:, a small work (29 x 21 cm) for the court of Urbino (
877:, Raphael's most sophisticated altarpiece of this period (
780:, and very likely the designs, for a fresco series in the
4613:
University of Chicago Special Collections Research Center
4520:
4200:
2224:
from a design by Raphael. First state, "without fir tree"
293:
244:
3860:
Pon:102. See also a lengthy analysis in: Landau:118 ff
2372:
Probable self-portrait drawing by Raphael in his teens
1710:
Raphael painted several of his works on wood support (
1426:
rising at least two storeys to the full height of the
690:
areas. An excess of resin in the varnish often causes
411:
to the ruler of the small but highly cultured city of
6627:
4578:
V&A London online feature on the Raphael Cartoons
1874:, brother of Gianfrancesco and later a member of the
1862:(the Urbino painter), and the sculptor and architect
362:
341:
332:
323:
296:
268:
247:
4358:, 1952 in English (1968 edition), Phaidon, New York.
4262:
Landau, David in:David Landau & Peter Parshall,
2451:, beginning at the time of his death, and later the
1542:
One of his most important papal commissions was the
353:
335:
317:
308:
290:
259:
241:
4527:
Raphael at the Metropolitan: The Colonna Altarpiece
2707:'s workshop, Santi recorded that both Perugino and
2472:, who held this view were usually the survivors of
2037:Young Man Carrying an Old Man on His Back, c. 1514
347:
314:
287:
238:
3896:Pon:95–136 & passim; Landau:118–60, and passim
2900:. London: Macmillan Reference Books. p. 357.
1207:, which seems to draw clearly from the Sybils and
5620:Portrait of Andrea Navagero and Agostino Beazzano
3913:
3911:
2563:in the 19th century. In contrast, in England the
1991:, engraved by Raimondi after a drawing by Raphael
1722:) and he was known to employ drying oils such as
1527:and designed further decorative frescoes for his
979:. He also perfects his own version of Leonardo's
620:however; it is unclear how easily he read Latin.
6663:
4070:Mannerism and Anti-Mannerism in Italian Painting
3445:
3443:
2285:From 1517 until his death, Raphael lived in the
4484:, National Gallery Publications Limited, 2004,
4437:, Pier Luigi De Vecchi, Abbeville Press, 2003.
4356:Classic Art; An Introduction to the Renaissance
4230:Ettlinger, Leopold D., and Helen S. Ettlinger,
4072:, p. 42 (Schocken 1970 edn.), 1957, Columbia UP
3769:Jones & Penny:58 & ff; 400 from Pon:114
2552:, who was born in 1862, of Raphael's Madonnas.
2384:Self-portrait, Raphael in the background, from
2160:himself, but entered into a collaboration with
3908:
3817:, p. 84, Royal Collection Publications, 2007,
661:, previously the court painter (d. 1475), and
6304:
4633:
4609:Guide to the Raphael Spurious Letters undated
4519:(out of print, but an online version is here
3948:
3946:
3944:
3604:Jones and Penny:146–47, 196–97; and Pon:82–85
3440:
2895:
1117:, perhaps at the suggestion of his architect
1108:
4361:
4290:
4220:, National Gallery Catalogues, London 1975,
4040:
3961:
3509:
3494:
3482:
3470:
3458:
3434:
3422:
3260:
3028:
2826:
6125:(1507–1520) (continued by other architects)
5913:The Expulsion of Heliodorus from the Temple
3196:Jones & Penny:44–47, and Wöllflin:79–82
2259:Galatea, engraving after the fresco in the
1353:, was completely destroyed to make way for
1332:The Expulsion of Heliodorus from the Temple
498:, his work became a formative influence on
302:
253:
6311:
6297:
4640:
4626:
4544:, Claudia La Malfa, Reaktion Books, 2020.
3941:
1475:
38:
5837:Portrait of Pope Leo X with Two Cardinals
4450:, Bette Talvacchia, Phaidon Press, 2007.
4319:Raphael in Early Modern Sources 1483–1602
3523:Joanna of Aragon, Queen consort of Naples
2493:Raphael and Maria Bibbiena's tomb in the
2267:
16:Italian painter and architect (1483–1520)
4416:. James H. Beck, Harry N. Abrams, 1976.
3633:Maturino for one is never heard of again
3040:Simone Fornari in 1549–50, see Gould:207
2504:
2488:
2433:
2271:
1983:
1479:
1379:
1309:
1143:
909:
905:
627:
513:
480:
467:
5929:The Meeting of Leo the Great and Attila
5348:Portrait of Cardinal Alessandro Farnese
4170:, Phaidon 1952 (refs to 1968 ed), p. 94
2946:Urbino: The Story of a Renaissance City
2865:Chapter 4, "The Real and the Imaginary"
1914:Portrait of Cardinal Alessandro Farnese
598:'s depiction of it in his classic work
396:ideal of human grandeur. Together with
6664:
4604:Raphael at the National Gallery of Art
3899:
3793:The Organization of Raphael's Workshop
1878:, may have been a member of the team.
1770:and even less known metallic powdered
1535:and mosaics in the funerary chapel in
1160:This first of the famous "Stanze" or "
768:at the invitation of another pupil of
623:
219:[raffaˈɛlloˈsantsjodaurˈbiːno]
6702:Architects of Roman Catholic churches
6292:
5113:Portrait of Guidobaldo da Montefeltro
4939:Portrait of Emilia Pia da Montefeltro
4621:
4218:The Sixteenth Century Italian Schools
3778:Ludovico Dolce (1508–1568), from his
3270:. London: Weidenfeld & Nicolson.
2429:
1705:
1098:, 1507, drawing from Roman sarcophagi
829:, 1502–03, very much in the style of
734:(1504), and for Perugia, such as the
665:, who until 1498 was based in nearby
217:
6318:
5597:Christ Falling on the Way to Calvary
4399:, Cambridge University Press, 2005,
3413:Jones & Penny:224–26 (quotation)
2896:Honour, Hugh; Fleming, John (1982).
2720:The bridge in the background is the
2197:(with considerable differences) and
1076:, 1507, possibly echoes the pose of
1034:, beginning to move on from Perugino
636:, Duke of Urbino from 1482 to 1508,
5246:Portrait of a Young Woman (La Muta)
5083:Madonna with Beardless Saint Joseph
4467:, New York University Press, 1970,
4197:Artistic Theory in Italy, 1450–1660
4110:The whole passage is worth reading.
4101:Online text of Reynold's Discourses
3735:from the original on April 29, 2008
3663:Jones & Penny:163–67 and passim
3574:National Gallery Technical Bulletin
3267:Michelangelo and the Sistine Chapel
2943:
2876:Vision and the Visionary in Raphael
2838:From the Latin and ultimately from
2817:Jones and Penny, p. 1 and 246.
2243:, who used the seated group in his
1870:worked for Raphael for a time, and
1830:Other pupils or assistants include
1487:, 1515, one of the seven remaining
13:
5582:Portrait of Baldassare Castiglione
4393:The Cambridge Companion to Raphael
4379:
3359:Ettlinger & Ettlinger: 177–180
3315:Blunt:76, Jones & Penny:103–05
3209:. szepmuveszeti.hu. Archived from
2673:. He normally signed documents as
1971:Portrait of Baldassare Castiglione
1164:" to be painted, now known as the
764:and portraits. In 1502 he went to
705:His first documented work was the
578:Federico was succeeded by his son
14:
6753:
5897:Disputation of the Holy Sacrament
4574:from the National Gallery, London
4555:
4389:, Vatican City and Westmead, 1971
2521:, regarded as the highest in the
2124:Developing the composition for a
1696:, 1520, unfinished at his death (
45:Presumed self-portrait of Raphael
6649:
6637:
5905:Cardinal and Theological Virtues
4562:120 artworks by or after Raphael
4173:
4157:
4122:
4113:
4093:
4084:
4075:
4062:
4046:
4022:
3967:
3791:quoted Pon:114, from lecture on
3112:Ettlinger & Ettlinger:39, 41
2934:Vasari, pp. 208, 230 and passim.
2772:
2759:
2686:He is said to have been born on
2515:training of the Academies of art
2411:
2394:
2377:
2365:
2252:
2229:
2210:
2132:
2117:
2099:
2078:
2066:
2054:
2042:
2030:
1962:
1945:
1928:
1905:
1888:
1791:The most important figures were
1684:
1663:
1642:
1621:
1485:The Miraculous Draught of Fishes
1288:
1271:
1254:
1240:
1086:
1064:
1039:
1014:
886:
864:
842:
816:
793:
487:Cardinal and Theological Virtues
283:
234:
196:
6727:16th-century Italian architects
6450:Antonio da Sangallo the Younger
6166:Antonio da Sangallo the Younger
5711:Saint Michael Vanquishing Satan
4709:Madonna and Child with the Book
4321:, 2003, Yale University Press,
3980:Internal and Emergency Medicine
3920:
3890:
3881:
3872:
3863:
3854:
3836:
3827:
3813:Lucy Whitaker, Martin Clayton,
3807:
3798:
3785:
3772:
3763:
3747:
3717:
3686:
3666:
3657:
3645:
3636:
3616:
3607:
3598:
3579:
3566:
3546:
3537:
3528:
3515:
3407:
3398:
3389:
3380:
3371:
3362:
3353:
3337:
3318:
3309:
3300:
3291:
3254:
3245:
3235:
3226:
3217:
3199:
3190:
3181:
3172:
3160:
3151:
3142:
3139:Ettlinger & Ettlinger:25–27
3133:
3124:
3115:
3106:
3097:
3088:
3079:
3070:
3061:
3052:
3043:
3034:
3013:
2992:
2979:
2970:
2961:
2952:
2937:
2750:
2736:
2727:
2714:
2697:
1758:. In several of his paintings (
1570:to be woven in the workshop of
1401:Antonio da Sangallo the Younger
1327:Antonio da Sangallo the Younger
1305:
1103:
6677:Italian Renaissance architects
6239:Multi-Purpose Logistics Module
6025:Saint Paul Preaching in Athens
4924:Portrait of Elisabetta Gonzaga
3843:National Galleries of Scotland
3758:De vera precetti della pittura
3692:Vasari (full text in Italian)
3019:Jones and Penny: 4–5, 8 and 20
2928:
2888:
2857:
2832:
2811:
2792:
2680:
2635:
2289:, lying at the corner between
2170:rise of the reproductive print
2151:
1897:Portrait of Elisabetta Gonzaga
523:Christ supported by two angels
380:), was an Italian painter and
1:
6732:16th-century Italian painters
6722:Burials at the Pantheon, Rome
6533:
6496:
6138:
6135:Palazzo Branconio dell'Aquila
6094:
6056:
5949:
5841:
5826:
5799:
5780:
5757:
5753:Saint Margaret and the Dragon
5742:
5723:
5692:
5677:
5662:
5647:
5632:
5628:Portrait of Cardinal Bibbiena
5601:
5586:
5571:
5548:
5533:
5518:
5503:
5488:
5473:
5458:
5443:
5420:
5397:
5382:
5367:
5352:
5337:
5322:
5318:Portrait of Tommaso Inghirami
5296:
5292:Saint Catherine of Alexandria
5265:
5250:
5235:
5220:
5193:
5170:
5155:
5132:
5117:
5102:
5087:
5064:
5049:
5018:
5003:
4988:
4973:
4958:
4943:
4928:
4913:
4898:
4872:
4857:
4842:
4827:
4812:
4797:
4766:
4751:
4728:
4713:
4186:
4179:Ettlinger & Ettlinger:230
3005:. z.about.com. Archived from
2874:, in Kleinbub, Christian K.,
2677:– a latinized form. Gould:207
2561:Düsseldorf school of painting
2218:The Massacre of the Innocents
2189:The Massacre of the Innocents
2049:Study for La Belle Jardinière
1918:
1876:First School of Fontainebleau
1344:Palazzo Branconio dell'Aquila
1315:Palazzo Branconio dell'Aquila
1073:Saint Catherine of Alexandria
1053:
1028:
977:Saint Catherine of Alexandria
920:
717:Evangelista da Pian di Meleto
637:
526:
509:
6682:Italian Renaissance painters
5977:Miraculous Draught of Fishes
5688:Madonna with the Blue Diadem
5673:The Ecstasy of Saint Cecilia
4478:Raphael: From Urbino to Rome
4306:. New York: Reynal and Co.,
4304:The Complete Work of Raphael
4154:Ettlinger & Ettlinger:11
4090:See Jones & Penny:102–04
3705:Getty Union Artist Name List
3094:Ettlinger & Ettlinger:20
3085:Ettlinger & Ettlinger:19
2985:Vasari, at the start of the
2607:List of paintings by Raphael
1881:
1762:) he even employed the rare
1566:. The cartoons were sent to
1531:, a chapel in the church of
1450:
1203:of Michelangelo himself, as
971:, from which he adapted the
563:– Urbino formed part of the
7:
6208:(disciple and collaborator)
6009:Conversion of the Proconsul
5860:Self-Portrait with a Friend
4999:Saint George and the Dragon
4647:
4302:; Golzio, Vincenzo (1969).
4199:, 1940 (refs to 1985 edn),
4134:online at Project Gutenburg
2600:
2421:Self-portrait with a friend
2305:, the daughter of a baker (
1979:
1777:
1716:) but he also used canvas (
1351:Giovanni Battista Branconio
1342:An important building, the
1133:, whose contributions, and
894:Saint George and the Dragon
586:, daughter of the ruler of
573:Early Netherlandish artists
56:Raffaello Santi (or Sanzio)
10:
6758:
6598:Johann Joachim Winckelmann
6588:Art patronage of Julius II
6164:(1518–1525) (completed by
6150:(1509–1575) (completed by
6052:Adoration of the Shepherds
5937:Deliverance of Saint Peter
5567:Portrait of Bindo Altoviti
5431:Portrait of Pope Julius II
5207:(1507–1508) (completed by
5189:Madonna of the Baldacchino
5128:Portrait of Maddalena Doni
4785:The Marriage of the Virgin
4346:Artists of the Renaissance
4308:William Morrow and Company
3992:10.1007/s11739-020-02435-8
3754:Giovanni Battista Armenini
3729:Metropolitan Museum of Art
3710:December 11, 2007, at the
3699:December 24, 2007, at the
3331:December 24, 2007, at the
3324:Book of the Courtier 1:26
2878:, 2011, Penn State Press,
2870:December 16, 2018, at the
2565:Pre-Raphaelite Brotherhood
2486:expressing similar views.
1954:Portrait of Bindo Altoviti
1937:Portrait of Pope Julius II
1587:The Ecstasy of St. Cecilia
1548:Victoria and Albert Museum
1517:was sent two paintings as
1499:Victoria and Albert Museum
1444:Four Books of Architecture
1283:, 1514, Stanza di Eliodoro
1280:Deliverance of Saint Peter
1266:, 1514, Stanza di Eliodoro
504:Pre-Raphaelite Brotherhood
496:Johann Joachim Winckelmann
211:Raffaello Sanzio da Urbino
18:
6697:Italian portrait painters
6580:
6483:
6367:
6326:
6265:
6181:
6148:Sant'Eligio degli Orefici
6129:Palazzo Jacopo da Brescia
6115:
6069:
6035:
5966:
5870:
5795:Portrait of a Young Woman
5484:Madonna of the Candelabra
5309:
4885:
4668:
4655:
4572:Raphael Research Resource
4234:, Oxford: Phaidon, 1987,
3622:Vasari, Life of Polidoro
2850:Dictionary.com Unabridged
2592:. Although art historian
2106:Sheet with study for the
1466:Marino Sanuto the Younger
1407:made a measured drawing.
1375:Palazzo Jacopo da Brescia
634:Guidobaldo da Montefeltro
580:Guidobaldo da Montefeltro
543:region, where his father
204:
195:
190:
186:
167:
157:
127:
106:
91:
73:
59:March 28 or April 6, 1483
51:
37:
30:
6712:Italian history painters
6213:Raphael and La Fornarina
5985:Christ's Charge to Peter
5703:Holy Family of Francis I
5276:Niccolini-Cowper Madonna
5060:Young Woman with Unicorn
4909:Portrait of Pietro Bembo
3613:Jones and Penny:147, 196
3543:Jones & Penny:192–97
3534:Jones & Penny:133–47
3395:Jones & Penny:219–20
3386:Jones & Penny:221–22
3377:Jones & Penny:210–11
3368:Jones & Penny:215–18
3306:Jones & Penny:101–05
3297:Jones & Penny:49–128
3187:Vasari, Michelangelo:251
3167:National Gallery, London
2958:Jones and Penny, pp. 1–2
2623:
2318:Order of the Golden Spur
1803:, already a master, and
1766:lake, metallic powdered
936:Gonfaloniere of Florence
928:National Gallery, London
852:Coronation of the Virgin
760:, and he began to paint
711:for the church of Saint
601:The Book of the Courtier
21:Raphael (disambiguation)
6742:Italian Roman Catholics
6189:Giovanni Santi (father)
5993:Healing of the Lame Man
5544:Portrait of a Young Man
5098:Portrait of Agnolo Doni
5014:Young Man with an Apple
4542:Raphael and the Antique
4498:; Joanna Pitman, 2006.
3938:, December 21–28, 2002.
3782:of 1557, quoted Pon:114
3694:pp. 197–98 & passim
3629:April 17, 2008, at the
3591:March 15, 2016, at the
3554:Mannerism & Maniera
3425:, pp. 572–73, 588.
3350:, p. 197 ,1967, Penguin
3178:Jones & Penny:21–45
2967:Vasari:207 & passim
2651:Rafael Sanzio da Urbino
2641:Other variants include
2403:Portrait of a Young Man
1493:for tapestries for the
1476:Other painting projects
809:São Paulo Museum of Art
549:Federico da Montefeltro
77:April 6, 1520 (aged 37)
6549:Sistine Chapel ceiling
6514:San Pietro in Montorio
6420:Bernardino delle Croci
6106:Raffaello da Montelupo
5514:Madonna dell'Impannata
5469:Madonna della Seggiola
5363:Portrait of a Cardinal
5045:Madonna del Cardellino
4693:Resurrection of Christ
4492:(exhibition catalogue)
4300:Castagnoli, Ferdinando
3760:(1587), quoted Pon:115
2898:A World History of Art
2586:
2545:
2510:
2502:
2478:
2444:
2282:
2268:Private life and death
2143:Resurrection of Christ
2139:Study for soldiers in
1992:
1805:Polidoro da Caravaggio
1602:, which together with
1537:Santa Maria del Popolo
1533:Santa Maria della Pace
1502:
1388:
1318:
1248:Stanza della Segnatura
1167:Stanza della Segnatura
1157:
1155:Stanza della Segnatura
1139:Sistine Chapel ceiling
930:
803:Resurrection of Christ
648:
596:Baldassare Castiglione
551:, a highly successful
532:
490:
478:
459:Stanza della Segnatura
6737:Italian male painters
6445:Sebastiano del Piombo
6375:Mariotto Albertinelli
5945:The Fire in the Borgo
5612:Creation of the World
5454:Madonna with the Fish
5216:Canigiani Holy Family
4364:Guide rionali di Roma
4362:Gigli, Laura (1992).
4264:The Renaissance Print
4059:, p. 230, 1963, Faber
3848:May 31, 2012, at the
3651:See for example, the
3556:, 1992, IRSA Vienna,
3076:Jones & Penny:2–5
2989:. Jones & Penny:5
2976:Jones & Penny:204
2863:On Neoplatonism, see
2767:Jean-M.-Vincent Audin
2618:Renaissance in Urbino
2577:
2536:
2509:Raphael's sarcophagus
2508:
2492:
2461:
2437:
2275:
1987:
1832:Raffaellino del Colle
1483:
1383:
1369:for the same patron,
1313:
1297:The Fire in the Borgo
1147:
1049:Madonna of the Meadow
913:
906:Influence of Florence
874:Wedding of the Virgin
731:Wedding of the Virgin
725:(about 1503) and the
713:Nicholas of Tolentino
631:
555:who had been created
517:
500:Neoclassical painting
484:
471:
447:, where the frescoed
435:: his early years in
6717:Painters from Urbino
6543:St. Peter's Basilica
6410:Antonio da Correggio
6327:Principal proponents
6202:(mistress and model)
6196:(mistress and model)
6168:and other disciples)
6156:Bastiano da Sangallo
6100:–1524) (executed by
6081:(1520) (executed by
5955:–1517) (executed by
5889:The School of Athens
5151:Madonna of the Pinks
4984:Madonna del Granduca
4954:Small Cowper Madonna
4808:Portrait of Perugino
4341:Lives of the Artists
4128:John Ruskin (1853),
4068:Walter Friedländer,
3878:Pon:86–87 lists them
3795:, pub. Chicago, 1983
3642:Vasari:207 & 231
3473:, pp. 569, 582.
3262:Graham-Dixon, Andrew
3251:Jones & Penny:49
3169:Jones & Penny:44
3009:on December 2, 2007.
2829:, pp. 585, 597.
2801:The School of Athens
2497:. The Madonna is by
2474:Renaissance Humanism
2387:The School of Athens
2314:Groom of the Chamber
2291:piazza Scossacavalli
2281:, Raphael's mistress
2239:, still influencing
2222:Marcantonio Raimondi
2162:Marcantonio Raimondi
2011:The School of Athens
1840:Bartolommeo Ramenghi
1821:Sack of Rome in 1527
1713:Madonna of the Pinks
1458:Laocoön and His Sons
1201:The School of Athens
1173:The School of Athens
1123:St. Peter's Basilica
1095:Deposition of Christ
991:Deposition of Christ
916:Madonna of the Pinks
618:humanistic education
521:, Raphael's father;
475:The School of Athens
454:The School of Athens
145:The School of Athens
6475:Antonio Vassilacchi
6270:Also attributed to
6017:Sacrifice at Lystra
5921:The Mass at Bolsena
5852:Madonna of the Rose
5529:Madonna della Tenda
5209:Ridolfo Ghirlandaio
5204:La belle jardinière
5166:Bridgewater Madonna
4747:Conestabile Madonna
4099:The 1772 Discourse
3905:Gigli (1992), p. 46
3521:One, a portrait of
3121:Jones and Penny:5–8
3049:Jones & Penny:8
2647:Raffaello da Urbino
2523:hierarchy of genres
1809:Maturino da Firenze
1797:Gianfrancesco Penni
1698:Pinacoteca Vaticana
1515:Francis I of France
1470:Marcantonio Michiel
1263:The Mass at Bolsena
994:draws on classical
879:Pinacoteca di Brera
857:Pinacoteca Vaticana
782:Piccolomini Library
624:Early life and work
6440:Baldassare Peruzzi
6395:Moretto da Brescia
6380:Pellegrino Aretusi
6152:Baldassare Peruzzi
5416:Madonna of Foligno
5408:The Prophet Isaiah
4969:Terranuova Madonna
4823:Colonna Altarpiece
4793:Diotallevi Madonna
4777:Vision of a Knight
4677:Baronci Altarpiece
4588:Web Gallery of Art
4465:John Pope-Hennessy
4352:Wölfflin, Heinrich
4139:2008-12-26 at the
4106:2007-02-27 at the
4043:, pp. 598–99.
3213:on March 14, 2012.
3067:Jones and Penny:17
2894:See, for example,
2511:
2503:
2457:Walter Friedländer
2445:
2430:Critical reception
2283:
2237:Judgement of Paris
2185:Judgement of Paris
2112:and other sketches
2061:Nude Studies, 1515
1993:
1844:Pellegrino Aretusi
1706:Painting materials
1630:Triumph of Galatea
1550:), a series of 10
1524:Triumph of Galatea
1509:and his successor
1503:
1389:
1319:
1158:
1121:, then engaged on
931:
708:Baronci altarpiece
649:
584:Elisabetta Gonzaga
533:
491:
479:
6707:Catholic painters
6625:
6624:
6570:The Last Judgment
6359:Leonardo da Vinci
6286:
6285:
5968:Tapestry cartoons
5822:Madonna de Bogota
5776:Small Holy Family
5393:Madonna of Loreto
5261:Esterhazy Madonna
5075:Madonna del Prato
4886:Florentine period
4762:Portrait of a Man
4660:List of paintings
4296:Becatti, Giovanni
4286:978-0-300-09680-4
4280:, 2004, Yale UP,
4164:Berenson, Bernard
4041:Salmi et al. 1969
3962:Salmi et al. 1969
3823:978-1-902163-29-1
3624:online in English
3576:Vol. 25, pp. 4–35
3510:Salmi et al. 1969
3495:Salmi et al. 1969
3483:Salmi et al. 1969
3471:Salmi et al. 1969
3459:Salmi et al. 1969
3435:Salmi et al. 1969
3423:Salmi et al. 1969
3348:Early Renaissance
3326:The whole passage
3157:Jones and Penny:5
3031:, pp. 11–12.
3029:Salmi et al. 1969
2827:Salmi et al. 1969
2804:, vouched for by
2709:Leonardo da Vinci
2703:After a visit to
2661:derives from the
2557:Nazarene movement
2126:Madonna and Child
1868:Bernard van Orley
1813:Giovanni da Udine
1435:Marco Fabio Calvo
968:Leda and the Swan
948:Leonardo da Vinci
746:cabinet paintings
667:Città di Castello
419:, to work on the
398:Leonardo da Vinci
208:
207:
6749:
6654:
6653:
6642:
6641:
6640:
6633:
6593:Jacob Burckhardt
6538:
6537: 1502–1516
6535:
6501:
6500: 1492–1498
6498:
6455:Andrea del Sarto
6390:Ludovico Beretta
6320:High Renaissance
6313:
6306:
6299:
6290:
6289:
6279:
6274:
6272:Lorenzo di Credi
6252:Raphael (crater)
6143:
6140:
6099:
6096:
6061:
6058:
6001:Death of Ananias
5954:
5951:
5846:
5843:
5831:
5828:
5804:
5801:
5785:
5782:
5762:
5759:
5747:
5744:
5728:
5725:
5719:Ezekiel's Vision
5697:
5694:
5682:
5679:
5667:
5664:
5652:
5649:
5637:
5634:
5606:
5603:
5591:
5588:
5576:
5573:
5553:
5550:
5538:
5535:
5523:
5520:
5508:
5505:
5493:
5490:
5478:
5475:
5463:
5460:
5448:
5445:
5425:
5422:
5402:
5399:
5387:
5384:
5372:
5369:
5357:
5354:
5342:
5339:
5327:
5324:
5301:
5298:
5270:
5267:
5255:
5252:
5240:
5237:
5225:
5222:
5198:
5195:
5175:
5172:
5160:
5157:
5137:
5134:
5122:
5119:
5107:
5104:
5092:
5089:
5069:
5066:
5054:
5051:
5037:La donna gravida
5023:
5020:
5008:
5005:
4993:
4990:
4978:
4975:
4963:
4960:
4948:
4945:
4933:
4930:
4918:
4915:
4903:
4900:
4877:
4874:
4862:
4859:
4847:
4844:
4832:
4829:
4817:
4814:
4802:
4799:
4771:
4768:
4756:
4753:
4733:
4730:
4718:
4715:
4701:Mond Crucifixion
4642:
4635:
4628:
4619:
4618:
4375:
4344:, edition used:
4311:
4244:Roger Jones and
4180:
4177:
4171:
4161:
4155:
4152:
4143:
4130:Pre-Raphaelitism
4126:
4120:
4117:
4111:
4097:
4091:
4088:
4082:
4079:
4073:
4066:
4060:
4050:
4044:
4038:
4029:
4026:
4020:
4019:
3971:
3965:
3959:
3953:
3950:
3939:
3924:
3918:
3915:
3906:
3903:
3897:
3894:
3888:
3885:
3879:
3876:
3870:
3867:
3861:
3858:
3852:
3840:
3834:
3831:
3825:
3811:
3805:
3802:
3796:
3789:
3783:
3776:
3770:
3767:
3761:
3751:
3745:
3744:
3742:
3740:
3721:
3715:
3690:
3684:
3670:
3664:
3661:
3655:
3653:Raphael Cartoons
3649:
3643:
3640:
3634:
3620:
3614:
3611:
3605:
3602:
3596:
3586:Italian painters
3583:
3577:
3570:
3564:
3550:
3544:
3541:
3535:
3532:
3526:
3519:
3513:
3507:
3498:
3492:
3486:
3480:
3474:
3468:
3462:
3456:
3450:
3447:
3438:
3432:
3426:
3420:
3414:
3411:
3405:
3402:
3396:
3393:
3387:
3384:
3378:
3375:
3369:
3366:
3360:
3357:
3351:
3341:
3335:
3322:
3316:
3313:
3307:
3304:
3298:
3295:
3289:
3288:
3286:
3284:
3258:
3252:
3249:
3243:
3239:
3233:
3230:
3224:
3221:
3215:
3214:
3203:
3197:
3194:
3188:
3185:
3179:
3176:
3170:
3164:
3158:
3155:
3149:
3146:
3140:
3137:
3131:
3128:
3122:
3119:
3113:
3110:
3104:
3101:
3095:
3092:
3086:
3083:
3077:
3074:
3068:
3065:
3059:
3056:
3050:
3047:
3041:
3038:
3032:
3026:
3020:
3017:
3011:
3010:
2999:Ashmolean Museum
2996:
2990:
2983:
2977:
2974:
2968:
2965:
2959:
2956:
2950:
2949:
2941:
2935:
2932:
2926:
2919:
2892:
2886:
2861:
2855:
2854:
2836:
2830:
2824:
2818:
2815:
2809:
2796:
2779:
2776:
2770:
2763:
2757:
2754:
2748:
2740:
2734:
2731:
2725:
2718:
2712:
2701:
2695:
2684:
2678:
2639:
2594:Bernard Berenson
2519:history painting
2415:
2398:
2381:
2369:
2344:Paris de Grassis
2323:Raphael died on
2295:via Alessandrina
2256:
2245:most famous work
2233:
2214:
2156:Raphael made no
2136:
2121:
2103:
2082:
2070:
2058:
2046:
2034:
1966:
1949:
1932:
1923:
1922: 1509-1511
1920:
1909:
1892:
1856:Tommaso Vincidor
1848:Vincenzo Tamagni
1836:Andrea Sabbatini
1688:
1667:
1646:
1625:
1544:Raphael Cartoons
1519:diplomatic gifts
1490:Raphael Cartoons
1397:Pope Clement VII
1346:for Leo's Papal
1292:
1275:
1258:
1244:
1109:Vatican "Stanze"
1090:
1068:
1058:
1055:
1043:
1033:
1030:
1018:
975:pose of his own
966:Leonardo's lost
962:Royal Collection
925:
922:
890:
868:
846:
835:National Gallery
826:Mond Crucifixion
820:
797:
722:Mond Crucifixion
642:
639:
531:
528:
421:Apostolic Palace
386:High Renaissance
377:
373:
369:
365:
360:
359:
356:
355:
352:
349:
346:
343:
340:
337:
334:
329:
328:
325:
322:
319:
316:
311:
310:
307:
304:
301:
298:
295:
292:
289:
282:
271:
266:
265:
262:
261:
258:
255:
252:
249:
246:
243:
240:
233:
221:
216:
200:
162:High Renaissance
130:
46:
42:
28:
27:
6757:
6756:
6752:
6751:
6750:
6748:
6747:
6746:
6662:
6661:
6660:
6648:
6638:
6636:
6628:
6626:
6621:
6576:
6562:Transfiguration
6536:
6499:
6492:The Last Supper
6479:
6435:Maffeo Olivieri
6415:Piero di Cosimo
6400:Gasparo Cairano
6363:
6334:Donato Bramante
6322:
6317:
6287:
6282:
6277:
6269:
6261:
6257:Vatican loggias
6215:(1813 painting)
6194:Imperia Cognati
6177:
6172:Villa Farnesina
6141:
6111:
6097:
6065:
6059:
6031:
5962:
5952:
5866:
5844:
5829:
5814:Transfiguration
5802:
5783:
5760:
5745:
5726:
5695:
5680:
5665:
5650:
5635:
5604:
5589:
5574:
5551:
5536:
5521:
5506:
5499:Sistine Madonna
5491:
5476:
5461:
5446:
5423:
5400:
5385:
5370:
5355:
5340:
5333:Garvagh Madonna
5325:
5305:
5299:
5268:
5253:
5238:
5231:Colonna Madonna
5223:
5196:
5173:
5158:
5143:Ansidei Madonna
5135:
5120:
5105:
5090:
5067:
5052:
5021:
5006:
4991:
4976:
4961:
4946:
4931:
4916:
4901:
4894:Christ Blessing
4881:
4875:
4860:
4845:
4830:
4815:
4800:
4769:
4754:
4731:
4716:
4685:Saint Sebastian
4664:
4651:
4646:
4558:
4382:
4380:Further reading
4336:Life of Raphael
4189:
4184:
4183:
4178:
4174:
4162:
4158:
4153:
4146:
4141:Wayback Machine
4127:
4123:
4118:
4114:
4108:Wayback Machine
4098:
4094:
4089:
4085:
4080:
4076:
4067:
4063:
4051:
4047:
4039:
4032:
4027:
4023:
3972:
3968:
3960:
3956:
3951:
3942:
3925:
3921:
3916:
3909:
3904:
3900:
3895:
3891:
3886:
3882:
3877:
3873:
3868:
3864:
3859:
3855:
3850:Wayback Machine
3841:
3837:
3832:
3828:
3812:
3808:
3803:
3799:
3790:
3786:
3777:
3773:
3768:
3764:
3752:
3748:
3738:
3736:
3723:
3722:
3718:
3712:Wayback Machine
3701:Wayback Machine
3691:
3687:
3671:
3667:
3662:
3658:
3650:
3646:
3641:
3637:
3631:Wayback Machine
3621:
3617:
3612:
3608:
3603:
3599:
3593:Wayback Machine
3584:
3580:
3571:
3567:
3551:
3547:
3542:
3538:
3533:
3529:
3520:
3516:
3508:
3501:
3493:
3489:
3481:
3477:
3469:
3465:
3457:
3453:
3448:
3441:
3433:
3429:
3421:
3417:
3412:
3408:
3403:
3399:
3394:
3390:
3385:
3381:
3376:
3372:
3367:
3363:
3358:
3354:
3342:
3338:
3333:Wayback Machine
3323:
3319:
3314:
3310:
3305:
3301:
3296:
3292:
3282:
3280:
3278:
3259:
3255:
3250:
3246:
3240:
3236:
3231:
3227:
3222:
3218:
3205:
3204:
3200:
3195:
3191:
3186:
3182:
3177:
3173:
3165:
3161:
3156:
3152:
3147:
3143:
3138:
3134:
3129:
3125:
3120:
3116:
3111:
3107:
3102:
3098:
3093:
3089:
3084:
3080:
3075:
3071:
3066:
3062:
3057:
3053:
3048:
3044:
3039:
3035:
3027:
3023:
3018:
3014:
3001:
2997:
2993:
2984:
2980:
2975:
2971:
2966:
2962:
2957:
2953:
2944:Osborne, June.
2942:
2938:
2933:
2929:
2908:
2893:
2889:
2872:Wayback Machine
2862:
2858:
2843:
2840:biblical Hebrew
2837:
2833:
2825:
2821:
2816:
2812:
2797:
2793:
2783:
2782:
2777:
2773:
2764:
2760:
2755:
2751:
2741:
2737:
2732:
2728:
2719:
2715:
2702:
2698:
2685:
2681:
2675:Raphael Urbinas
2665:of the Italian
2643:Raffaello Santi
2640:
2636:
2626:
2612:Domenico Alfani
2603:
2569:Joshua Reynolds
2527:Joshua Reynolds
2440:Sistine Madonna
2432:
2425:
2416:
2407:
2399:
2390:
2382:
2373:
2370:
2312:He was made a "
2303:Margherita Luti
2287:Palazzo Caprini
2270:
2263:
2261:Villa Farnesina
2257:
2248:
2234:
2225:
2220:, engraving by
2215:
2203:Baviero Carocci
2154:
2147:
2137:
2128:
2122:
2113:
2104:
2095:
2090:Villa Farnesina
2083:
2074:
2071:
2062:
2059:
2050:
2047:
2038:
2035:
1982:
1975:
1967:
1958:
1950:
1941:
1933:
1924:
1921:
1910:
1901:
1893:
1884:
1801:Perino del Vaga
1780:
1760:Ansidei Madonna
1736:lead-tin-yellow
1719:Sistine Madonna
1708:
1701:
1693:Transfiguration
1689:
1680:
1672:The Holy Family
1668:
1659:
1656:Museo del Prado
1647:
1638:
1635:Villa Farnesina
1626:
1599:Transfiguration
1593:Sistine Madonna
1529:Villa Farnesina
1478:
1453:
1416:rione of Regola
1317:, now destroyed
1308:
1301:
1293:
1284:
1276:
1267:
1259:
1250:
1245:
1119:Donato Bramante
1111:
1106:
1099:
1091:
1082:
1079:Leonardo's Leda
1069:
1060:
1056:
1044:
1035:
1031:
1024:Ansidei Madonna
1019:
923:
908:
901:
891:
882:
869:
860:
847:
838:
821:
812:
798:
786:Siena Cathedral
737:Oddi Altarpiece
674:Pietro Perugino
663:Luca Signorelli
640:
626:
606:Pietro Bibbiena
529:
512:
457:in the Vatican
407:His father was
375:
371:
367:
363:
331:
313:
286:
277:
276:
269:
237:
228:
227:
214:
182:
151:Transfiguration
148:
142:
139:Sistine Madonna
136:
128:
123:
87:
78:
69:
67:Duchy of Urbino
60:
58:
57:
47:
44:
33:
24:
17:
12:
11:
5:
6755:
6745:
6744:
6739:
6734:
6729:
6724:
6719:
6714:
6709:
6704:
6699:
6694:
6689:
6684:
6679:
6674:
6659:
6658:
6646:
6623:
6622:
6620:
6619:
6618:
6617:
6608:Giorgio Vasari
6605:
6600:
6595:
6590:
6584:
6582:
6578:
6577:
6575:
6574:
6566:
6558:
6552:
6546:
6540:
6525:
6517:
6511:
6503:
6487:
6485:
6481:
6480:
6478:
6477:
6472:
6467:
6462:
6457:
6452:
6447:
6442:
6437:
6432:
6427:
6425:Girolamo Genga
6422:
6417:
6412:
6407:
6402:
6397:
6392:
6387:
6385:Fra Bartolomeo
6382:
6377:
6371:
6369:
6365:
6364:
6362:
6361:
6356:
6351:
6346:
6341:
6336:
6330:
6328:
6324:
6323:
6316:
6315:
6308:
6301:
6293:
6284:
6283:
6281:
6280:
6275:
6266:
6263:
6262:
6260:
6259:
6254:
6249:
6241:
6233:
6225:
6217:
6209:
6203:
6200:Margarita Luti
6197:
6191:
6185:
6183:
6179:
6178:
6176:
6175:
6169:
6159:
6145:
6132:
6126:
6119:
6117:
6113:
6112:
6110:
6109:
6086:
6073:
6071:
6067:
6066:
6064:
6063:
6048:
6039:
6037:
6033:
6032:
6030:
6029:
6021:
6013:
6005:
5997:
5989:
5981:
5972:
5970:
5964:
5963:
5961:
5960:
5941:
5933:
5925:
5917:
5909:
5901:
5893:
5885:
5876:
5874:
5868:
5867:
5865:
5864:
5856:
5848:
5833:
5818:
5810:
5791:
5772:
5764:
5749:
5730:
5715:
5707:
5699:
5684:
5669:
5654:
5639:
5624:
5616:
5608:
5593:
5578:
5563:
5555:
5540:
5525:
5510:
5495:
5480:
5465:
5450:
5435:
5427:
5412:
5404:
5389:
5374:
5359:
5344:
5329:
5313:
5311:
5307:
5306:
5304:
5303:
5288:
5280:
5272:
5257:
5242:
5227:
5212:
5200:
5185:
5181:The Deposition
5177:
5162:
5147:
5139:
5124:
5109:
5094:
5079:
5071:
5056:
5041:
5033:
5025:
5010:
4995:
4980:
4965:
4950:
4935:
4920:
4905:
4889:
4887:
4883:
4882:
4880:
4879:
4864:
4849:
4834:
4819:
4804:
4789:
4781:
4773:
4758:
4743:
4735:
4720:
4705:
4697:
4689:
4681:
4672:
4670:
4666:
4665:
4663:
4662:
4656:
4653:
4652:
4645:
4644:
4637:
4630:
4622:
4616:
4615:
4606:
4601:
4595:
4590:
4585:
4580:
4575:
4569:
4557:
4556:External links
4554:
4553:
4552:
4539:
4536:978-1588391889
4523:
4506:
4493:
4482:Nicholas Penny
4475:
4458:
4445:
4432:
4411:
4408:
4397:Marcia B. Hall
4390:
4381:
4378:
4377:
4376:
4359:
4349:
4329:
4315:Shearman, John
4312:
4288:
4274:
4266:, Yale, 1996,
4260:
4252:, Yale, 1983,
4246:Nicholas Penny
4242:
4228:
4211:
4193:Blunt, Anthony
4188:
4185:
4182:
4181:
4172:
4156:
4144:
4121:
4112:
4092:
4083:
4074:
4061:
4045:
4030:
4021:
3986:(1): 243–244.
3966:
3964:, p. 598.
3954:
3952:Shearman: 573.
3940:
3919:
3907:
3898:
3889:
3880:
3871:
3862:
3853:
3835:
3826:
3806:
3797:
3784:
3771:
3762:
3746:
3716:
3685:
3682:Frank Auerbach
3665:
3656:
3644:
3635:
3615:
3606:
3597:
3578:
3565:
3545:
3536:
3527:
3514:
3512:, p. 579.
3499:
3497:, p. 574.
3487:
3485:, p. 570.
3475:
3463:
3461:, p. 582.
3451:
3439:
3437:, p. 110.
3427:
3415:
3406:
3397:
3388:
3379:
3370:
3361:
3352:
3344:Levey, Michael
3336:
3317:
3308:
3299:
3290:
3276:
3253:
3244:
3234:
3225:
3216:
3198:
3189:
3180:
3171:
3159:
3150:
3141:
3132:
3123:
3114:
3105:
3096:
3087:
3078:
3069:
3060:
3051:
3042:
3033:
3021:
3012:
2991:
2978:
2969:
2960:
2951:
2936:
2927:
2907:978-0333235836
2906:
2887:
2884:978-0271037042
2856:
2853:(Online). n.d.
2831:
2819:
2810:
2790:
2789:
2781:
2780:
2771:
2758:
2749:
2735:
2726:
2722:Pons Fabricius
2713:
2696:
2679:
2657:. The surname
2655:Raphael Sanzio
2633:
2632:
2625:
2622:
2621:
2620:
2615:
2609:
2602:
2599:
2548:had..." wrote
2431:
2428:
2427:
2426:
2417:
2410:
2408:
2400:
2393:
2391:
2383:
2376:
2374:
2371:
2364:
2362:
2361:Self-portraits
2269:
2266:
2265:
2264:
2258:
2251:
2249:
2235:
2228:
2226:
2216:
2209:
2153:
2150:
2149:
2148:
2138:
2131:
2129:
2123:
2116:
2114:
2105:
2098:
2096:
2088:study for the
2084:
2077:
2075:
2072:
2065:
2063:
2060:
2053:
2051:
2048:
2041:
2039:
2036:
2029:
1981:
1978:
1977:
1976:
1968:
1961:
1959:
1951:
1944:
1942:
1934:
1927:
1925:
1911:
1904:
1902:
1894:
1887:
1883:
1880:
1852:Battista Dossi
1779:
1776:
1707:
1704:
1703:
1702:
1690:
1683:
1681:
1669:
1662:
1660:
1648:
1641:
1639:
1627:
1620:
1572:Pier van Aelst
1564:Sistine Chapel
1495:Sistine Chapel
1477:
1474:
1452:
1449:
1433:Raphael asked
1371:Agostino Chigi
1307:
1304:
1303:
1302:
1294:
1287:
1285:
1277:
1270:
1268:
1260:
1253:
1251:
1246:
1239:
1127:Vatican Palace
1115:Julius II
1110:
1107:
1105:
1102:
1101:
1100:
1092:
1085:
1083:
1070:
1063:
1061:
1045:
1038:
1036:
1020:
1013:
944:Fra Bartolomeo
907:
904:
903:
902:
892:
885:
883:
870:
863:
861:
848:
841:
839:
822:
815:
813:
799:
792:
687:art historians
645:Uffizi Gallery
625:
622:
582:, who married
561:Pope Sixtus IV
557:Duke of Urbino
545:Giovanni Santi
519:Giovanni Santi
511:
508:
445:Vatican Palace
433:Giorgio Vasari
417:Pope Julius II
206:
205:
202:
201:
193:
192:
188:
187:
184:
183:
181:
180:
177:
175:Giovanni Santi
171:
169:
165:
164:
159:
155:
154:
131:
125:
124:
122:
121:
116:
110:
108:
107:Known for
104:
103:
93:
89:
88:
79:
75:
71:
70:
61:
55:
53:
49:
48:
43:
35:
34:
31:
15:
9:
6:
4:
3:
2:
6754:
6743:
6740:
6738:
6735:
6733:
6730:
6728:
6725:
6723:
6720:
6718:
6715:
6713:
6710:
6708:
6705:
6703:
6700:
6698:
6695:
6693:
6690:
6688:
6685:
6683:
6680:
6678:
6675:
6673:
6670:
6669:
6667:
6657:
6652:
6647:
6645:
6635:
6634:
6631:
6616:
6615:
6611:
6610:
6609:
6606:
6604:
6601:
6599:
6596:
6594:
6591:
6589:
6586:
6585:
6583:
6579:
6572:
6571:
6567:
6564:
6563:
6559:
6556:
6555:Raphael Rooms
6553:
6550:
6547:
6544:
6541:
6531:
6530:
6526:
6523:
6522:
6518:
6515:
6512:
6509:
6508:
6504:
6494:
6493:
6489:
6488:
6486:
6482:
6476:
6473:
6471:
6470:Palma Vecchio
6468:
6466:
6463:
6461:
6458:
6456:
6453:
6451:
6448:
6446:
6443:
6441:
6438:
6436:
6433:
6431:
6430:Lorenzo Lotto
6428:
6426:
6423:
6421:
6418:
6416:
6413:
6411:
6408:
6406:
6405:Giulio Clovio
6403:
6401:
6398:
6396:
6393:
6391:
6388:
6386:
6383:
6381:
6378:
6376:
6373:
6372:
6370:
6368:Other artists
6366:
6360:
6357:
6355:
6352:
6350:
6347:
6345:
6342:
6340:
6337:
6335:
6332:
6331:
6329:
6325:
6321:
6314:
6309:
6307:
6302:
6300:
6295:
6294:
6291:
6276:
6273:
6268:
6267:
6264:
6258:
6255:
6253:
6250:
6248:
6247:
6242:
6240:
6238:
6234:
6232:
6230:
6226:
6224:
6222:
6218:
6216:
6214:
6210:
6207:
6206:Giulio Romano
6204:
6201:
6198:
6195:
6192:
6190:
6187:
6186:
6184:
6180:
6173:
6170:
6167:
6163:
6160:
6157:
6153:
6149:
6146:
6136:
6133:
6130:
6127:
6124:
6121:
6120:
6118:
6114:
6107:
6103:
6092:
6091:
6087:
6084:
6080:
6079:
6075:
6074:
6072:
6068:
6054:
6053:
6049:
6046:
6045:
6041:
6040:
6038:
6034:
6027:
6026:
6022:
6019:
6018:
6014:
6011:
6010:
6006:
6003:
6002:
5998:
5995:
5994:
5990:
5987:
5986:
5982:
5979:
5978:
5974:
5973:
5971:
5969:
5965:
5958:
5957:Giulio Romano
5947:
5946:
5942:
5939:
5938:
5934:
5931:
5930:
5926:
5923:
5922:
5918:
5915:
5914:
5910:
5907:
5906:
5902:
5899:
5898:
5894:
5891:
5890:
5886:
5883:
5882:
5881:The Parnassus
5878:
5877:
5875:
5873:
5872:Raphael Rooms
5869:
5862:
5861:
5857:
5854:
5853:
5849:
5839:
5838:
5834:
5824:
5823:
5819:
5816:
5815:
5811:
5808:
5807:Giulio Romano
5805:–1519) (with
5797:
5796:
5792:
5789:
5788:Giulio Romano
5786:–1519) (with
5778:
5777:
5773:
5770:
5769:
5765:
5755:
5754:
5750:
5740:
5739:Giulio Romano
5736:
5735:
5731:
5721:
5720:
5716:
5713:
5712:
5708:
5705:
5704:
5700:
5690:
5689:
5685:
5675:
5674:
5670:
5660:
5659:
5655:
5645:
5644:
5640:
5630:
5629:
5625:
5622:
5621:
5617:
5614:
5613:
5609:
5599:
5598:
5594:
5584:
5583:
5579:
5569:
5568:
5564:
5561:
5560:
5556:
5546:
5545:
5541:
5531:
5530:
5526:
5516:
5515:
5511:
5501:
5500:
5496:
5486:
5485:
5481:
5471:
5470:
5466:
5456:
5455:
5451:
5441:
5440:
5436:
5433:
5432:
5428:
5418:
5417:
5413:
5410:
5409:
5405:
5395:
5394:
5390:
5380:
5379:
5375:
5365:
5364:
5360:
5350:
5349:
5345:
5335:
5334:
5330:
5320:
5319:
5315:
5314:
5312:
5308:
5294:
5293:
5289:
5286:
5285:
5284:Tempi Madonna
5281:
5278:
5277:
5273:
5263:
5262:
5258:
5248:
5247:
5243:
5233:
5232:
5228:
5218:
5217:
5213:
5210:
5206:
5205:
5201:
5191:
5190:
5186:
5183:
5182:
5178:
5168:
5167:
5163:
5153:
5152:
5148:
5145:
5144:
5140:
5130:
5129:
5125:
5115:
5114:
5110:
5100:
5099:
5095:
5085:
5084:
5080:
5077:
5076:
5072:
5062:
5061:
5057:
5047:
5046:
5042:
5039:
5038:
5034:
5031:
5030:
5029:Self-portrait
5026:
5016:
5015:
5011:
5001:
5000:
4996:
4986:
4985:
4981:
4971:
4970:
4966:
4956:
4955:
4951:
4941:
4940:
4936:
4926:
4925:
4921:
4911:
4910:
4906:
4896:
4895:
4891:
4890:
4888:
4884:
4870:
4869:
4868:Saint Michael
4865:
4855:
4854:
4850:
4840:
4839:
4835:
4825:
4824:
4820:
4810:
4809:
4805:
4795:
4794:
4790:
4787:
4786:
4782:
4779:
4778:
4774:
4764:
4763:
4759:
4749:
4748:
4744:
4741:
4740:
4736:
4726:
4725:
4724:Solly Madonna
4721:
4711:
4710:
4706:
4703:
4702:
4698:
4695:
4694:
4690:
4687:
4686:
4682:
4679:
4678:
4674:
4673:
4671:
4667:
4661:
4658:
4657:
4654:
4650:
4643:
4638:
4636:
4631:
4629:
4624:
4623:
4620:
4614:
4610:
4607:
4605:
4602:
4600:at ColourLex.
4599:
4598:Raphael Santi
4596:
4594:
4591:
4589:
4586:
4584:
4581:
4579:
4576:
4573:
4570:
4567:
4563:
4560:
4559:
4551:
4550:9781789141504
4547:
4543:
4540:
4537:
4533:
4529:
4528:
4524:
4521:
4518:
4517:0-7148-1469-5
4514:
4510:
4507:
4505:
4501:
4497:
4494:
4491:
4490:1-85709-999-0
4487:
4483:
4479:
4476:
4474:
4473:0-8147-0476-X
4470:
4466:
4462:
4459:
4457:
4456:9780714847863
4453:
4449:
4446:
4444:
4440:
4436:
4433:
4431:
4430:0-8109-0432-2
4427:
4423:
4419:
4415:
4412:
4409:
4406:
4405:0-521-80809-X
4402:
4398:
4394:
4391:
4388:
4384:
4383:
4373:
4369:
4365:
4360:
4357:
4353:
4350:
4347:
4343:
4342:
4337:
4333:
4330:
4328:
4327:0-300-09918-5
4324:
4320:
4316:
4313:
4309:
4305:
4301:
4297:
4293:
4289:
4287:
4283:
4279:
4275:
4273:
4272:0-300-06883-2
4269:
4265:
4261:
4259:
4258:0-300-03061-4
4255:
4251:
4247:
4243:
4241:
4237:
4233:
4229:
4227:
4226:0-947645-22-5
4223:
4219:
4215:
4212:
4210:
4209:0-19-881050-4
4206:
4202:
4198:
4194:
4191:
4190:
4176:
4169:
4165:
4160:
4151:
4149:
4142:
4138:
4135:
4131:
4125:
4116:
4109:
4105:
4102:
4096:
4087:
4078:
4071:
4065:
4058:
4054:
4053:Chastel André
4049:
4042:
4037:
4035:
4025:
4017:
4013:
4009:
4005:
4001:
3997:
3993:
3989:
3985:
3981:
3977:
3970:
3963:
3958:
3949:
3947:
3945:
3937:
3936:
3931:
3930:
3923:
3917:Vasari:230–31
3914:
3912:
3902:
3893:
3884:
3875:
3866:
3857:
3851:
3847:
3844:
3839:
3830:
3824:
3820:
3816:
3810:
3801:
3794:
3788:
3781:
3775:
3766:
3759:
3755:
3750:
3734:
3730:
3726:
3720:
3713:
3709:
3706:
3702:
3698:
3695:
3689:
3683:
3679:
3675:
3669:
3660:
3654:
3648:
3639:
3632:
3628:
3625:
3619:
3610:
3601:
3594:
3590:
3587:
3582:
3575:
3569:
3563:
3562:3-900731-33-0
3559:
3555:
3549:
3540:
3531:
3524:
3518:
3511:
3506:
3504:
3496:
3491:
3484:
3479:
3472:
3467:
3460:
3455:
3446:
3444:
3436:
3431:
3424:
3419:
3410:
3401:
3392:
3383:
3374:
3365:
3356:
3349:
3345:
3340:
3334:
3330:
3327:
3321:
3312:
3303:
3294:
3279:
3277:9781602393684
3273:
3269:
3268:
3263:
3257:
3248:
3238:
3229:
3220:
3212:
3208:
3202:
3193:
3184:
3175:
3168:
3163:
3154:
3145:
3136:
3127:
3118:
3109:
3100:
3091:
3082:
3073:
3064:
3055:
3046:
3037:
3030:
3025:
3016:
3008:
3004:
3000:
2995:
2988:
2982:
2973:
2964:
2955:
2947:
2940:
2931:
2925:(1483–1520)."
2923:
2917:
2913:
2909:
2903:
2899:
2891:
2885:
2881:
2877:
2873:
2869:
2866:
2860:
2852:
2851:
2846:
2841:
2835:
2828:
2823:
2814:
2807:
2803:
2802:
2795:
2791:
2788:
2787:
2775:
2768:
2762:
2753:
2746:
2739:
2730:
2723:
2717:
2710:
2706:
2700:
2693:
2689:
2683:
2676:
2672:
2668:
2664:
2660:
2656:
2652:
2648:
2644:
2638:
2634:
2631:
2630:
2619:
2616:
2613:
2610:
2608:
2605:
2604:
2598:
2595:
2591:
2585:
2581:
2576:
2574:
2570:
2566:
2562:
2558:
2553:
2551:
2544:
2542:
2535:
2532:
2528:
2524:
2520:
2516:
2507:
2500:
2496:
2491:
2487:
2485:
2484:
2477:
2475:
2471:
2467:
2460:
2458:
2454:
2450:
2442:
2441:
2436:
2423:
2422:
2414:
2409:
2405:
2404:
2397:
2392:
2389:
2388:
2380:
2375:
2368:
2363:
2360:
2359:
2358:
2356:
2352:
2349:
2345:
2340:
2338:
2334:
2330:
2326:
2321:
2319:
2315:
2310:
2308:
2304:
2300:
2296:
2292:
2288:
2280:
2279:
2274:
2262:
2255:
2250:
2246:
2242:
2238:
2232:
2227:
2223:
2219:
2213:
2208:
2207:
2206:
2204:
2200:
2196:
2195:
2194:The Parnassus
2190:
2186:
2182:
2177:
2175:
2171:
2167:
2163:
2159:
2145:
2144:
2135:
2130:
2127:
2120:
2115:
2111:
2110:
2102:
2097:
2094:
2091:
2087:
2081:
2076:
2069:
2064:
2057:
2052:
2045:
2040:
2033:
2028:
2027:
2026:
2024:
2018:
2016:
2012:
2006:
2004:
2003:John Shearman
1999:
1990:
1986:
1973:
1972:
1965:
1960:
1956:
1955:
1948:
1943:
1939:
1938:
1931:
1926:
1916:
1915:
1908:
1903:
1899:
1898:
1891:
1886:
1885:
1879:
1877:
1873:
1869:
1865:
1861:
1857:
1853:
1849:
1845:
1841:
1837:
1833:
1828:
1824:
1822:
1818:
1814:
1810:
1806:
1802:
1798:
1794:
1793:Giulio Romano
1789:
1786:
1775:
1773:
1769:
1765:
1761:
1757:
1753:
1749:
1745:
1741:
1737:
1733:
1729:
1725:
1721:
1720:
1715:
1714:
1699:
1695:
1694:
1687:
1682:
1678:
1674:
1673:
1666:
1661:
1657:
1653:
1652:
1645:
1640:
1636:
1632:
1631:
1624:
1619:
1618:
1617:
1615:
1611:
1607:
1606:
1601:
1600:
1595:
1594:
1589:
1588:
1583:
1579:
1578:
1573:
1569:
1565:
1561:
1557:
1553:
1549:
1545:
1540:
1538:
1534:
1530:
1526:
1525:
1520:
1516:
1512:
1508:
1500:
1496:
1492:
1491:
1486:
1482:
1473:
1471:
1467:
1464:According to
1462:
1460:
1459:
1448:
1446:
1445:
1440:
1437:to translate
1436:
1431:
1429:
1425:
1421:
1417:
1413:
1408:
1406:
1402:
1398:
1394:
1387:
1382:
1378:
1376:
1372:
1368:
1363:
1360:
1356:
1352:
1349:
1345:
1340:
1336:
1334:
1333:
1328:
1324:
1316:
1312:
1299:
1298:
1291:
1286:
1282:
1281:
1274:
1269:
1265:
1264:
1257:
1252:
1249:
1243:
1238:
1237:
1236:
1234:
1233:Michael Levey
1230:
1226:
1222:
1218:
1213:
1210:
1206:
1202:
1196:
1194:
1191:
1187:
1186:
1181:
1180:
1179:The Parnassus
1175:
1174:
1169:
1168:
1163:
1162:Raphael Rooms
1156:
1152:
1151:
1150:The Parnassus
1146:
1142:
1140:
1136:
1132:
1128:
1124:
1120:
1116:
1097:
1096:
1089:
1084:
1081:
1080:
1075:
1074:
1067:
1062:
1051:
1050:
1042:
1037:
1026:
1025:
1017:
1012:
1011:
1010:
1008:
1004:
1003:
997:
993:
992:
985:
982:
978:
974:
970:
969:
963:
959:
955:
954:
949:
945:
939:
937:
929:
918:
917:
912:
899:
895:
889:
884:
880:
876:
875:
867:
862:
858:
854:
853:
845:
840:
836:
832:
828:
827:
819:
814:
810:
806:
804:
796:
791:
790:
789:
787:
783:
779:
775:
771:
767:
763:
759:
758:
753:
752:
747:
743:
739:
738:
733:
732:
728:
724:
723:
718:
714:
710:
709:
703:
701:
697:
693:
688:
684:
680:
675:
670:
668:
664:
660:
659:Paolo Uccello
655:
654:self-portrait
646:
635:
630:
621:
619:
615:
612:, both later
611:
607:
603:
602:
597:
593:
589:
585:
581:
576:
574:
570:
566:
562:
558:
554:
550:
546:
542:
538:
524:
520:
516:
507:
505:
501:
497:
488:
483:
477:
476:
470:
466:
464:
460:
456:
455:
450:
449:Raphael Rooms
446:
442:
438:
434:
428:
426:
422:
418:
414:
410:
409:court painter
405:
403:
399:
395:
391:
387:
383:
379:
378:
358:
280:
274:
273:
264:
231:
225:
220:
212:
203:
199:
194:
189:
185:
178:
176:
173:
172:
170:
166:
163:
160:
156:
153:
152:
147:
146:
141:
140:
135:
134:Raphael Rooms
132:
126:
120:
117:
115:
112:
111:
109:
105:
102:
98:
94:
92:Resting place
90:
86:
82:
76:
72:
68:
64:
54:
50:
41:
36:
29:
26:
22:
6612:
6603:Leonardeschi
6568:
6560:
6527:
6519:
6505:
6490:
6348:
6344:Michelangelo
6245:
6236:
6229:La Fornarina
6228:
6223:(1894 opera)
6220:
6212:
6174:(decoration)
6162:Villa Madama
6123:Chigi Chapel
6088:
6076:
6050:
6042:
6023:
6015:
6007:
5999:
5991:
5983:
5975:
5943:
5935:
5927:
5919:
5911:
5903:
5895:
5887:
5879:
5858:
5850:
5835:
5820:
5812:
5793:
5774:
5768:La Fornarina
5766:
5751:
5732:
5717:
5709:
5701:
5686:
5671:
5656:
5641:
5626:
5618:
5610:
5595:
5580:
5565:
5557:
5542:
5527:
5512:
5497:
5482:
5467:
5452:
5437:
5434:(1511, 1512)
5429:
5414:
5406:
5391:
5378:Alba Madonna
5376:
5361:
5346:
5331:
5316:
5310:Roman period
5290:
5282:
5274:
5259:
5244:
5229:
5214:
5202:
5187:
5179:
5164:
5149:
5141:
5126:
5111:
5096:
5081:
5073:
5058:
5043:
5035:
5027:
5012:
4997:
4982:
4967:
4952:
4937:
4922:
4907:
4892:
4866:
4853:Three Graces
4851:
4838:Saint George
4836:
4821:
4806:
4791:
4783:
4775:
4760:
4745:
4737:
4722:
4707:
4699:
4691:
4683:
4675:
4648:
4564: at the
4541:
4525:
4508:
4495:
4477:
4460:
4447:
4434:
4413:
4392:
4386:
4363:
4355:
4345:
4339:
4335:
4318:
4303:
4292:Salmi, Mario
4277:
4263:
4249:
4231:
4217:
4214:Gould, Cecil
4196:
4175:
4167:
4159:
4129:
4124:
4119:Wölfflin:82,
4115:
4095:
4086:
4077:
4069:
4064:
4056:
4048:
4024:
3983:
3979:
3969:
3957:
3933:
3929:La Fornarina
3927:
3922:
3901:
3892:
3883:
3874:
3865:
3856:
3838:
3829:
3814:
3809:
3800:
3792:
3787:
3779:
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3765:
3757:
3756:(1533–1609)
3749:
3737:. Retrieved
3719:
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3678:Tom Phillips
3668:
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3595:at ColourLex
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3266:
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3247:
3237:
3228:
3219:
3211:the original
3201:
3192:
3183:
3174:
3162:
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3148:Gould:207–08
3144:
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3007:the original
2994:
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2401:
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2355:Pietro Bembo
2341:
2329:bloodletting
2322:
2311:
2306:
2284:
2278:La Fornarina
2276:
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2217:
2198:
2192:
2188:
2184:
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2178:
2155:
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2125:
2109:Alba Madonna
2107:
2093:Three Graces
2092:
2019:
2010:
2007:
1997:
1994:
1988:
1969:
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1860:Timoteo Viti
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1546:(now in the
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1454:
1442:
1432:
1428:piano nobile
1409:
1393:Villa Madama
1390:
1386:Chigi Chapel
1384:View of the
1367:Chigi Chapel
1364:
1358:
1341:
1337:
1330:
1320:
1306:Architecture
1295:
1278:
1261:
1219:of the High
1217:grand manner
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751:Three Graces
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735:
729:
720:
706:
704:
679:Timoteo Viti
671:
650:
632:Portrait of
610:Pietro Bembo
599:
577:
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534:
522:
492:
486:
473:
452:
429:
406:
402:Michelangelo
223:
210:
209:
149:
143:
137:
129:Notable work
119:architecture
85:Papal States
25:
6692:1520 deaths
6687:1483 births
6656:Visual arts
6573:(1536–1541)
6565:(1516–1520)
6557:(1509–1524)
6551:(1508–1512)
6545:(1506–1513)
6524:(1501–1504)
6510:(1498–1499)
6484:Major works
6231:(1944 film)
6142: 1520
6131:(1515–1519)
6098: 1520
6060: 1508
6028:(1514–1516)
6020:(1514–1516)
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5863:(1518–1520)
5855:(1518–1520)
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5771:(1518–1519)
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5681: 1514
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5411:(1511–1512)
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5341: 1509
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5300: 1507
5269: 1508
5254: 1507
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5146:(1505–1507)
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5106: 1506
5091: 1506
5068: 1505
5053: 1505
5040:(1505–1506)
5032:(1504–1506)
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5007: 1505
4992: 1505
4977: 1504
4962: 1504
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4932: 1504
4917: 1504
4902: 1502
4876: 1504
4861: 1503
4846: 1503
4831: 1503
4816: 1504
4801: 1504
4780:(1503–1504)
4770: 1503
4755: 1502
4742:(1502–1504)
4732: 1500
4717: 1503
4704:(1502–1503)
4696:(1499–1502)
4688:(1501–1502)
4680:(1500–1501)
4669:Early works
4276:Pon, Lisa,
4057:Italian Art
3703:; see also
3283:January 10,
2688:Good Friday
2573:John Ruskin
2353:written by
2325:Good Friday
2164:to produce
2152:Printmaking
1748:madder lake
1732:ultramarine
1728:walnut oils
1560:Saint Peter
1420:giant order
1348:Chamberlain
1221:Renaissance
1057: 1506
1032: 1505
958:Holy Family
924: 1506
807:1499–1502 (
757:St. Michael
641: 1507
553:condottiere
541:the Marches
530: 1490
463:printmaking
425:the Vatican
394:Neoplatonic
6666:Categories
6278:Attributed
6102:Lorenzetto
6083:Lorenzetto
6070:Sculptures
5658:Visitation
4739:Oddi Altar
4504:0091901715
4443:0789207702
4240:0714823031
4187:References
4028:Vasari:231
3935:The Lancet
3739:August 26,
3725:"Lucretia"
3242:Penny:4952
3232:Vasari:247
2705:Verrocchio
2590:Bouguereau
2531:Discourses
2499:Lorenzetto
2333:last rites
2166:engravings
2023:metalpoint
1872:Luca Penni
1864:Lorenzetto
1785:old master
1764:brazilwood
1651:Il Spasimo
1605:Il Spasimo
1582:grottesche
1562:, for the
1556:Saint Paul
1412:via Giulia
1323:St Peter's
1205:Heraclitus
1193:Pope Leo X
1002:Doni Tondo
996:sarcophagi
510:Background
6614:The Lives
6529:Mona Lisa
6465:Tamagnino
6460:Il Sodoma
6339:Giorgione
6246:Raffaello
6237:Raffaello
6116:Buildings
5643:La velata
4372:0393-2710
4338:from the
4132:, p. 127
4016:220528453
4000:1970-9366
3780:L'Aretino
3674:Brian Eno
2845:"Raphael"
2786:Citations
2765:Cited by
2629:Footnotes
2449:Mannerism
2424:, c. 1518
2418:Possible
2146:, c. 1500
2086:Red chalk
2015:distemper
1974:, c. 1515
1957:, c. 1514
1940:, c. 1512
1900:, c. 1504
1882:Portraits
1752:verdigris
1744:vermilion
1614:Mannerist
1507:Julius II
1451:Antiquity
1439:Vitruvius
1424:pilasters
1225:idealised
953:Mona Lisa
855:1502–03 (
614:cardinals
485:Raphael,
472:Raphael,
382:architect
191:Signature
6644:Painting
6044:Lucretia
6036:Drawings
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4422:73-12198
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4104:Archived
4081:Blunt:76
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3733:Archived
3708:Archived
3697:Archived
3627:Archived
3589:Archived
3329:Archived
3264:(2008).
2868:Archived
2601:See also
2550:Wölfflin
2541:Longinus
2495:Pantheon
2337:Pantheon
2181:Lucretia
1989:Lucretia
1980:Drawings
1778:Workshop
1675:, 1518 (
1590:and the
1568:Brussels
1552:cartoons
1405:Palladio
1229:drawings
1182:and the
1153:, 1511,
1007:Borghese
831:Perugino
778:cartoons
770:Perugino
762:Madonnas
700:Florence
692:cracking
683:Wölfflin
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390:His work
366:-ee-əl,
215:Italian:
158:Movement
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97:Pantheon
6672:Raphael
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6581:Related
6349:Raphael
6221:Raphael
6182:Related
6047:(1500s)
5439:Galatea
4649:Raphael
4611:at the
4461:Raphael
4448:Raphael
4435:Raphael
4414:Raphael
4250:Raphael
4232:Raphael
3833:Pon:104
3714:entries
3207:"Image"
3003:"Image"
2916:8828368
2671:Santius
2529:in his
2470:Aretino
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2351:distich
2348:elegiac
2307:fornaro
2297:in the
2199:Galatea
1998:Disputa
1772:bismuth
1740:carmine
1724:linseed
1610:Baroque
1414:in the
1355:Bernini
1185:Disputa
981:sfumato
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384:of the
370:-fee-,
224:Raphael
168:Parents
32:Raphael
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1190:Medici
898:Louvre
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