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

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Raphael
Cartoon for Tapestry,Christ-s Charge to St.Peter
mk231 1515-16 Oil on paper
ID: 53409

Raphael Cartoon for Tapestry,Christ-s Charge to St.Peter
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Raphael Cartoon for Tapestry,Christ-s Charge to St.Peter


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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 :. | Portrait of the Duchess of Huescar | Elisabetta Gonzaga | The Transfiguration | La belle jardiniere | The Judgment of Paris |
Related Artists:
Cary, William
1759-C1825
Adolph Friedrich Vollmer
(17 December 1806 - 12 February 1875) was a German landscape and marine painter and graphic artist. He and his contemporary, the painter Christian Morgenstern, were pioneers in Hamburg of early Realism in painting. As son of a bookkeeper to a Hamburg merchant, Vollmer grew up in humble circumstances.[3] Determined to become a painter against the wishes of his father,[4] he became an apprentice to the brothers Suhr who owned a graphic workshop producing panorama prints. For one and a half years Vollmer travelled throughout Germany with one of the brothers, Cornelius Suhr, as had been Morgenstern before him. In 1826 he was introduced by the Hamburg art-dealer Ernst Harzen to the wealthy aristocrat and supporter of the arts, Carl Friedrich von Rumohr, who was patron to many young Hamburg artists among them Morgenstern and Otto Speckter. Probably on Rumohr advice Vollmer completed his studies under Christoffer Wilhelm Eckersberg at the Royal Danish Academy of Fine Arts in Copenhagen. He then moved to Munich from where he undertook journeys to Lake Konstanz, to the Austrian and Swiss Alps, to Venice, to Le Havre and to the Netherlands. In 1839 Vollmer returned to Hamburg and settled there. One of his sons, Johannes Vollmer, became a prominent architect of protestant churches; a grand-son was the art historian and encyclopaedist Hans Vollmer who, for many years, edited the Thieme-Becker Kenstler Lexikon. Vollmer became blind in 1866.
Jacob Jordaens
Flemish Baroque Era Painter, 1593-1678 Jacob Jordeans was born on May 19, 1593, the first of eleven children, to the wealthy linen merchant Jacob Jordaens Sr. and Barbara van Wolschaten in Antwerp. Little is known about Jordaens's early education. It can be assumed that he received the advantages of the education usually provided for children of his social class. This assumption is supported by his clear handwriting, his competence in French and in his knowledge of mythology. Jordaens familiarity with biblical subjects is evident in his many religious paintings, and his personal interaction with the Bible was strengthened by his later conversion from Catholicism to Protestantism. Like Rubens, he studied under Adam van Noort, who was his only teacher. During this time Jordaens lived in Van Noort's house and became very close to the rest of the family. After eight years of training with Van Noort, he enrolled in the Guild of St. Luke as a "waterscilder", or watercolor artist. This medium was often used for preparing tapestry cartoons in the seventeenth century. although examples of his earliest watercolor works are no longer extant. In the same year as his entry into the guild, 1616, he married his teacher's eldest daughter, Anna Catharina van Noort, with whom he had three children. In 1618, Jordaens bought a house in Hoogstraat (the area in Antwerp that he grew up in). He would then later buy the adjoining house to expand his household and workspace in 1639, mimicking Rubens's house built two decades earlier. He lived and worked here until his death in 1678. Jordaens never made the traditional trip to Italy to study classical and Renaissance art. Despite this, he made many efforts to study prints or works of Italian masters available in northern Europe. For example, Jordaens is known to have studied Titian, Veronese, Caravaggio, and Bassano, either through prints, copies or originals (such as Caravaggio's Madonna of the Rosary). His work, however, betrays local traditions, especially the genre traditions of Pieter Bruegel the Elder, in honestly depicting Flemish life with authenticity and showing common people in the act of celebratory expressions of life. His commissions frequently came from wealthy local Flemish patrons and clergy, although later in his career he worked for courts and governments across Europe. Besides a large output of monumental oil paintings he was a prolific tapestry designer, a career that reflects his early training as a "watercolor" painter. Jordaens' importance can also be seen by his number of pupils; the Guild of St. Luke records fifteen official pupils from 1621 to 1667, but six others were recorded as pupils in court documents and not the Guild records, so it is probable that he had more students than officially recorded. Among them were his cousin and his son Jacob. Like Rubens and other artists at that time, Jordaens' studio relied on his assistants and pupils in the production of his paintings. Not many of these pupils went on to fame themselves,however a position in Jordaens's studio was highly desirable for young artists from across Europe.






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