Raphael
Raphael's Oil Paintings
Raphael Museum
April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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Raphael
Elisabetta Gonzaga
1504-06 Galleria degli Uffizi, Florence
ID: 03286

Raphael Elisabetta Gonzaga
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Raphael Elisabetta Gonzaga


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Raphael

Italian High Renaissance Painter, 1483-1520 Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the 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 printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.  Related Paintings of Raphael :. | Infantin Maria Theresa von Neapel | Conestabile Madonna | Don Luis de Borbon | three graces muse'e conde,chantilly | Saint George and the Dragon |
Related Artists:
BONFIGLI, Benedetto
Italian painter, Umbrian school (b. ca. 1420, Perugia, d. 1496, Perugia) Benedetto Bonfigli (c. 1420?CJuly 8, 1496) was an Italian painter of the Quattrocento born in Perugia, and active around Umbria. He is also known as Buonfiglio. He was the teacher of the painter Pietro Perugino. His earliest work was an ' Annunciation,' originally in the Orfanelli at Perugia. His masterpiece is a series of frescoes in the Palazzo del Consiglio in the same city, which represent the Lives of St. Louis of Toulouse and St. Herculanus; they were begun in 1454 and not finished in 1496, in which year Bonfigli's will is dated. An Adoration of the Magi (c. 1460) was painted for San Domenico. A Banner (gonfalone) was painted in 1465 for the brotherhood of San Bernardino, and representing the deeds of their patron saint; another Gonfalone painted for the brotherhood of San Fiorenzo in 1476, in honor of the Virgin, who had been prayed to intercede for the cessation of the plague. He painted a Virgin of Mercy' (1478) for the church of the Commenda di Santa Croce; and several others in and around Perugia. He was much influenced by Domenico Veneziano and Pietro della Francesca. He also painted frescoes of Sant Ercolano and San Ludovico (1454) for the Palazzo del Consiglio. He died in Perugia.
Vladimir Borovikovsky
1757-1825,Russian painter of Ukrainian birth. Along with Fyodor Rokotov and Dmitry Levitsky, Borovikovsky is one of the three great Russian portrait painters of the second half of the 18th century. He was trained by his father and brothers, who were icon painters. His early works were also icons, such as the Mother of God (1784; Kiev, Mus. Ukrain. A.) and King David (1785; St Petersburg, Rus. Mus.); they are archaic in style and resemble portraits produced by Ukrainian folk artists. At the end of the 1780s Borovikovsky moved to St Petersburg and took up portrait painting. He was aided by advice from Levitsky and took lessons from Johann Baptist Lampi (i). He soon became established, gaining a reputation as a brilliant colourist, and he received many commissions. Throughout his career, however, he continued to paint icons from time to time. In 1795 he became a member of the St Petersburg Academy of Arts; he was also closely connected with many of the chief exponents of Russian culture in the city. The number of his surviving works is large (at least 400 portraits). He had his own workshop, and he would often rely on assistants to paint the less important parts of a portrait. His sitters included members of the imperial family, courtiers, generals, many aristocrats and figures from the Russian artistic and literary worlds. Most of his portraits are intimate in style. A particularly touching example is the portrait of Ol ga Filippova, the wife of a close friend (c. 1790; St Petersburg, Rus. Mus.), who is seen in a white peignoir with a park in the background. The portrait is painted in a flowing style; the combination of light, subdued tones, typical of Borovikovsky, gives an impression of tender femininity and quiet contemplation.
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