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

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Raphael
The Vision of Ezekiel
1518 Galleria Palatina, Florence
ID: 03315

Raphael The Vision of Ezekiel
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Raphael The Vision of Ezekiel


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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 :. | Retrato de la Marquesa de Llano | Madonna del Granduca | Portrait of Infante Antonio Pascual of Spain | Sistine Madonna | Portrait of Charles Hanbury Williams. |
Related Artists:
Spinello Aretino
Italian Early Renaissance Painter, ca.1350-1410 was an Italian painter, the son of a Florentine named Luca, who had taken refuge in Arezzo in 1310 when exiled with the rest of the Ghibelline party. Spinello was a pupil of Jacopo del Casentino, a follower of Giotto, and his own style was a sort of link between the school of Giotto and that of Siena. In the early part of his life he worked in Florence as an assistant to his master Jacopo while painting frescoes in the church of the Carmine and in Santa Maria Novella. Between 1360 and 1384 he was occupied in painting many frescoes in and near Arezzo, almost all of which have now perished. After the sack of Arezzo in 1384 Spinello returned to Florence, and in 1387-1388 with some assistants covered the walls and vault of the sacristy of San Miniato of Florence with a series of frescoes, the chief of which represent scenes from the life of Saint Benedict. These still exist, though in a sadly restored condition; they are very Giotto-like in composition, but have some of the Siena decorative brilliance of color. In 1391-1392 Spinello was painting six frescoes, which still remain on the south wall of the Pisan Campo Santo, representing miracles of St. Potitus and St. Ephesus. For these he received 270 gold forms. Among his later works the chief are the very fine series of frescoes painted in 1407-1408 on the walls and vault of a chapel in the municipal buildings of Siena; these also have suffered much from repainting, but still are the finest of Spinello's existing frescoes. Sixteen of these represent the war of Frederick Barbarossa against the republic of Venice.
Sebastien Bourdon
(2 February 1616 - 8 May 1671) was a French painter and engraver. His chef d'œuvre is The Crucifixion of St. Peter made for the church of Notre Dame. The Finding of Moses, c. 1650 (National Gallery of Art, Washington)Bourdon was born in Montpellier, France, the son of a Protestant painter on glass. He was apprenticed to a painter in Paris. In spite of his poverty he managed to get to Rome in 1636; there he studied the paintings of Nicolas Poussin, Claude Lorrain and Caravaggio among his eclectic selection of models, until he was forced to flee in 1638, to escape denunciation by the Inquisition for his Protestant faith. Bourdon's facility rendered him adept at portraiture, whether in a dashing Rubens manner or in intimate, sympathetic bust-length or half-length portraits isolated against plain backgrounds that set a formula for middle-class portraiture for the rest of the century, landscapes in the manner of Gaspar Dughet or cappricci of ruins, mythological "history painting" like other members of Poussin's circle or the genre subjects of the Dutch Bamboccianti who were working in Rome. His eclectic range of styles have given art historians exercise in tracing his adaptation of his models, while the lack of an immediately recognizable "Bourdon style" has somewhat dampened public appreciation. In 1652 Christina of Sweden made him her first court painter. Bourdon spent most of his working career outside France, where, though he was a founding member of the Academie de peinture et de sculpture (1648), he was for long largely dismissed as a pasticheur, a situation partly rebalanced by a comprehensive exhibition in 2000 of his work at the Musee Fabre, where the collection includes a fine Lamentation painted in the last years of his life. His success required the establishment of an extensive atelier, where, among his other pupils worked Nicolas-Pierre Loir and Pierre Mosnier. He died in Paris in 1671.
Edward Moran
(August 19, 1829 in Bolton, Lancashire, England -June 8, 1901 in New York City) was an American artist. He emigrated with his family to America at the age of 15, and subsequently settled in Philadelphia, where after having followed his fathers trade of weaver, he became a pupil of James Hamilton and Paul Weber. In 1862 he became a pupil of the Royal Academy in London; he established a studio in New York in 1872, and for many years after 1877 lived in Paris. He was a painter of marine subjects and examples of his work such as Devile Crag; Island of Grand Manan are in many prominent collections. Among his canvases are 13 historical paintings, intended to illustrate the marine history of America from the time of Leif Ericsson to the return of Admiral Dewey's fleet from the Philippines in 1899. His sons Edward Percy Moran (born 1862) and Leon Moran (born 1864), and his brothers Peter Moran (born 1842) and Thomas Moran.






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