Raphael - Knowledge (XXG)

2435: 2068: 2032: 2413: 1964: 1041: 2212: 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. 2080: 866: 1481: 2056: 629: 2134: 2101: 1623: 1947: 1088: 2119: 198: 2044: 515: 1290: 1273: 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 482: 795: 1256: 818: 1907: 1145: 1890: 1686: 1242: 2506: 2254: 2231: 2396: 1665: 1644: 2379: 1985: 2367: 911: 844: 469: 888: 1066: 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

2273: 6639: 1016: 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", 1930: 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 1311: 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 40: 2490: 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:

1381: 6651: 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. 3732: 2583:

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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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",

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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

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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

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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

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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

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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

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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.

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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

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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

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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

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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

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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

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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. 865: 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.

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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.

5733: 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 2031: 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 1622: 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

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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

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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

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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: 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

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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

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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.

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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. 2079: 2395: 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.

2230: 2133: 2100: 817: 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 3206: 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 1087: 887: 1643: 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

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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.

2118: 5619: 4822: 1272: 794: 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

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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.

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Bufarale (1915) "diagnosed pneumonia or a military fever" while Portigliotti suggested pulmonary disease. Joannides stated that "Raphael died of over-work."

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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

2378: 1906: 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, 5912: 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,

1331: 3693: 2043: 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 6310: 5904: 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 3522: 2253: 2055: 1255: 6726: 4577: 3328: 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

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Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo.

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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.

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, 2366: 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.

1350: 1015: 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 1889: 6731: 6721: 3932:

reveal a cancerous breast tumour detailed and disguised in a classic pose of love. "The Portrait of Breast Cancer and Raphael's La Fornarina",

1671: 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 6681: 5112: 4998: 4938: 4285: 3822: 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: 6051: 5596: 4784: 2867: 1585: 1480: 873: 730: 2455:, took art "in a direction totally opposed" to Raphael's qualities; "with Raphael's death, classic art—the High Renaissance—subsided", as 1443: 744:, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite 5245: 5082: 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

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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

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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 6711: 5896: 5543: 5013: 4639: 4549: 4516: 4489: 4472: 4455: 4429: 4404: 4326: 4271: 4257: 4225: 4208: 3561: 3275: 3210: 2402: 1184: 361: 267: 4103: 1866:(Giulio's brother-in-law). The printmakers and architects in Raphael's circle are discussed below. It has been claimed the Flemish 628: 702:, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. 6741: 6569: 6134: 5362: 4692: 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. 2694:

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.

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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

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work and grotesques surrounding the main frescoes. Most of the artists were later scattered, and some killed, by the violent

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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:

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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

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One surviving preparatory drawing appears to be mostly by Raphael; quotation from Vasari by – Jones and Penny:20

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The main designs for the Villa Farnesina were not by Raphael, but he did design, and decorate with mosaics, the

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The original (in Latin): "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori".

2317: 1137:, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the 1094: 935: 927: 851: 600: 393: 389: 20: 6542: 6506: 6205: 5956: 5806: 5787: 5738: 5097: 5028: 4867: 1792: 1457: 1322: 1122: 548: 4511:, catalogue raisonné by Luitpold Dussler published in the United States by Phaidon Publishers, Inc., 1971, 1113:

In 1508, Raphael moved to Rome, where he resided for the rest of his life. He was invited by the new pope,

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Roy, A., Spring, M., Plazzotta, C. 'Raphael's Early Work in the National Gallery: Paintings before Rome'.

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These very large and complex compositions have been regarded ever since as among the supreme works of the

1166: 1154: 1138: 776:, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the 750: 613: 595: 458: 4592: 2614:, a close friend of Raphael whose paintings have often been mistaken for those of the better-known artist 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 6444: 6374: 5944: 5453: 5215: 4632: 4299: 3677: 3325: 2766: 2617: 2540: 2298: 1831: 1296: 756: 712: 3704: 2456: 2316:" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal 1823:. This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond. 4133: 1144: 1009:, it stands rather alone in Raphael's work. His classicism would later take a less literal direction. 6691: 6686: 6520: 6409: 6155: 5888: 5657: 5150: 4983: 4953: 4351: 4340: 3585: 2800: 2549: 2473: 2386: 2290: 2221: 2202: 2161: 1839: 1712: 1580:

at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style

1347: 1172: 990: 915: 736: 682: 666: 617: 474: 453: 144: 4561: 3974:

Riva, Michele Augusto; Paladino, Maria Emilia; Motta, Marco; Belingheri, Michael (January 1, 2021).

2921: 2505: 6474: 6227: 6089: 5920: 5528: 5208: 5165: 4746: 3261: 2839: 2522: 1820: 1808: 1796: 1697: 1514: 1469: 1262: 878: 856: 781: 726: 6655: 6439: 6394: 6379: 6151: 6077: 6043: 5415: 4968: 4792: 4676: 4464: 4011: 3869:

The enigmatic relationship is discussed at length by both Landau and Pon in her Chapters 3 and 4.

3006: 2294: 2172:. His interest was unusual in such a major artist; from his contemporaries it was only shared by 1843: 707: 583: 4387:

Raffaello nei documenti nelle testimonianze dei contemporanei e nella letturatura del suo secolo

1984: 2005:, Raphael's art marks "a shift of resources away from production to research and development". 910: 502:, but his techniques would later be explicitly and emphatically rejected by groups such as the 222:; March 28 or April 6, 1483 – April 6, 1520), now generally known in English as 6358: 5775: 5438: 5392: 5260: 4545: 4531: 4512: 4499: 4485: 4468: 4451: 4438: 4425: 4417: 4400: 4367: 4322: 4281: 4267: 4253: 4235: 4221: 4204: 4003: 3995: 3818: 3557: 3271: 2911: 2901: 2879: 2864: 2708: 2556: 2014: 1867: 1812: 1629: 1523: 1521:

from the Pope. For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the

1434: 1130: 947: 468: 397: 1227:

depiction of the forms represented, and the compositions, though very carefully conceived in

6671: 6592: 6454: 6389: 6319: 6271: 6251: 6024: 6016: 6008: 6000: 5992: 5984: 5976: 5967: 5558: 5036: 4700: 4625: 4295: 4163: 4052: 3987: 3652: 2998: 2593: 2518: 2343: 2313: 2169: 2157: 1855: 1847: 1835: 1543: 1489: 1396: 1310: 961: 834: 825: 745: 721: 420: 385: 284: 278: 235: 218: 161: 3623: 2342:

Raphael's funeral was extremely grand, attended by large crowds. According to a journal by

2272: 6643: 6434: 6414: 6399: 6333: 6256: 6219: 6193: 6171: 5498: 5332: 5230: 5142: 4294:; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe; 4140: 4107: 3849: 3711: 3700: 3630: 3592: 3332: 2871: 2611: 2568: 2526: 2513:

Raphael's compositions were always admired and studied, and became the cornerstone of the

2439: 2302: 2286: 2260: 2089: 1800: 1759: 1735: 1718: 1655: 1634: 1592: 1576: 1528: 1518: 1220: 1118: 1023: 785: 673: 662: 605: 229: 138: 66: 2459:

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 694:

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: 3672:

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 6607: 6424: 6384: 6235: 6199: 6188: 4603: 4481: 4396: 4331: 4245: 3681: 2849: 2805: 2721: 2690:(March 28, 1483), but the inscription on his tomb states that he was born on the same 2494: 2489: 2469: 2465: 2347: 2336: 1851: 1571: 1563: 1555: 1494: 1370: 1126: 943: 672:

According to Vasari, Raphael's father placed him in the workshop of the Umbrian master

644: 591: 560: 556: 544: 518: 444: 432: 416: 392:

is admired for its clarity of form, ease of composition, and visual achievement of the

174: 96: 4496:

The Raphael Trail: The Secret History of One of the World's Most Precious Works of Art

6665: 6554: 6469: 6429: 6404: 5880: 5871: 5283: 4723: 4314: 4192: 4015: 3343: 2193: 2009:

lines which leave only an indentation, but no mark. These can be seen on the wall in

2002: 1730:. His palette was rich and he used almost all of the then available pigments such as 1232: 1178: 1161: 1149: 761: 686: 658: 653: 499: 448: 439:, then a period of about four years (1504–1508) absorbing the artistic traditions of 408: 133: 3223:

Jones & Penny:49, differing somewhat from Gould:208 on the timing of his arrival

6602: 6343: 6243: 6161: 6122: 5767: 5377: 4593:

Birthplace Museum of Raphael, Urbino, on the Artist's Studio Museum Network website

4587: 4278:

Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print

3928: 2514: 2354: 2328: 2277: 2108: 1859: 1427: 1392: 1385: 1366: 1300:, 1514, Stanza dell'incendio del Borgo, painted by the workshop to Raphael's design 1216: 1134: 972: 773: 748:

in these years, probably mostly for the connoisseurs in the Urbino court, like the

678: 609: 564: 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

424: 401: 118: 84: 788:. He was evidently already much in demand even at this early stage in his career. 4168:

Italian Painters of the renaissance, Vol 2 Florentine and Central Italian Schools

3265: 4291: 4213: 2687: 2572: 2324: 1747: 1731: 1723: 1559: 1419: 552: 540: 462: 3991: 3926:

Art historians and doctors debate whether the right hand on the left breast in

1788:

art themselves, which are often very difficult to assign to a particular hand.

1410:

Only some floor-plans remain for a large palace planned for himself on the new

39: 6101: 6082: 4571: 3934: 3449:

Jones & Penny:205 The letter may date from 1519, or before his appointment

2704: 2589: 2498: 2332: 2022: 1871: 1863: 1811:, has, like Penni, been overshadowed in subsequent reputation by his partner. 1784: 1763: 1727: 1581: 1411: 1380: 1204: 1192: 1001: 995: 691: 451:

were the central, and the largest, work of his career. The best known work is

4371: 3999: 3975: 1455:

In about 1510, Raphael was asked by Bramante to judge contemporary copies of

1212:

art he got from me", although other quotations show more generous reactions.

6528: 6464: 6459: 6338: 5642: 4509:

Raphael: A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries

3673: 2844: 2448: 2406:, 1514, lost during the Second World War. Possible self-portrait by Raphael. 2165: 1751: 1743: 1613: 1438: 1114: 952: 381: 4007: 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

1996:

borrowing figures from here and there. Over forty sketches survive for the

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 ( 2309:) named Francesco Luti from Siena who lived at Via del Governo Vecchio. 2085: 1567: 1423: 1404: 1224: 1059:, using Leonardo's pyramidal composition for subjects of the Holy Family. 1006: 830: 769: 699: 440: 113: 6650: 4597: 4530:, Wolk-Simon, Linda. (2006). New York: The Metropolitan Museum of Art. 3976:"The death of Raphael: a reflection on bloodletting in the Renaissance" 2452: 2350: 1771: 1739: 1609: 1551: 1354: 1321:

After Bramante's death in 1514, Raphael was named architect of the new

1228: 980: 777: 695: 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 6353: 4612: 4565: 2555:

In Germany, Raphael had an immense influence on religious art of the

2173: 2017:

medium, as they were sent to Brussels to be followed by the weavers.

1816: 1755: 1676: 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 1223:, and the "classic art" of the post-antique West. They give a highly 1189: 897: 741: 587: 568: 536: 436: 412: 62: 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,

2769:, although there is some uncertainty as to the journal's existence. 4036: 4034: 2504: 2488: 2433: 2271: 2240: 1983: 1479: 1395:, a lavish hillside retreat for Cardinal Giulio de' Medici, later 1379: 1329:. It would perhaps have resembled the temple in the background of 1309: 1143: 909: 765: 627: 513: 3815:

The Art of Italy in the Royal Collection; Renaissance and Baroque

715:

in Città di Castello, a town halfway between Perugia and Urbino.

4150: 4148: 1767: 100: 80: 6292: 4621: 4480:; Hugo Chapman, Tom Henry, Carol Plazzotta, Arnold Nesselrath, 4200: 3505: 3503: 2476:, unable to follow Michelangelo as he moved on into Mannerism. 1584:. He produced a number of significant altarpieces, including 338: 3103:

It was later seriously damaged during an earthquake in 1789.

2073:

Marriage of Alexander and Roxana. Study for Villa Farnesina

350: 344: 326: 320: 305: 299: 256: 250: 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: 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: 6580: 6483: 6367: 6326: 6181: 6115: 6069: 6035: 5966: 5870: 5309: 4885: 4668: 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: 190: 167: 157: 127: 106: 91: 73: 51: 30: 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. 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 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 1117:, perhaps at the suggestion of his architect 8: 4220:, National Gallery Catalogues, London 1975, 4040: 3961: 3509: 3494: 3482: 3470: 3458: 3434: 3422: 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: 6289: 4640: 4626: 4618: 4544:, Claudia La Malfa, Reaktion Books, 2020. 38: 27: 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 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:207 480: 467: 6634: 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" 2791: 2634: 2359: 2207: 2027: 1914:Portrait of Cardinal Alessandro Farnese 1885: 1618: 1237: 1011: 790: 598:'s depiction of it in his classic work 396:ideal of human grandeur. Together with 4604:Raphael at the National Gallery of Art 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 219:[raffaˈɛlloˈsantsjodaurˈbiːno] 6702:Architects of Roman Catholic churches 5113:Portrait of Guidobaldo da Montefeltro 4939:Portrait of Emilia Pia da Montefeltro 4218:The Sixteenth Century Italian Schools 3778:Ludovico Dolce (1508–1568), from his 3270:. London: Weidenfeld & Nicolson. 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: 7: 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 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 5582:Portrait of Baldassare Castiglione 4393:The Cambridge Companion to Raphael 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: 5897:Disputation of the Holy Sacrament 4574:from the National Gallery, London 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 3791:quoted Pon:114, from lecture on 3112:Ettlinger & Ettlinger:39, 41 2934:Vasari, pp. 208, 230 and passim. 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 3813:Lucy Whitaker, Martin Clayton, 3139:Ettlinger & Ettlinger:25–27 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 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 2289:, lying at the corner between 2170:rise of the reproductive print 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: 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: 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 1762:) he even employed the rare 1566:. The cartoons were sent to 1531:, a chapel in the church of 1203:of Michelangelo himself, as 971:, from which he adapted the 563:– Urbino formed part of the 6208:(disciple and collaborator) 6009:Conversion of the Proconsul 5860:Self-Portrait with a Friend 4999:Saint George and the Dragon 4302:; Golzio, Vincenzo (1969). 4199:, 1940 (refs to 1985 edn), 4134:online at Project Gutenburg 2421:Self-portrait with a friend 2305:, the daughter of a baker ( 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) 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 6265: 6148:Sant'Eligio degli Orefici 6129:Palazzo Jacopo da Brescia 5795:Portrait of a Young Woman 5484:Madonna of the Candelabra 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: 186: 59:March 28 or April 6, 1483 37: 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 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: 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: 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: 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 4361: 4336:Life of Raphael 4290: 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: 3973: 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: 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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: 6753: 6745: 6744: 6739: 6734: 6729: 6724: 6719: 6714: 6709: 6704: 6699: 6694: 6689: 6684: 6679: 6674: 6664: 6663: 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: 6318: 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: 4647: 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: 13: 10: 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: 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: 4555: 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: 4379: 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: 4186: 4176: 4173: 4169: 4165: 4160: 4157: 4151: 4149: 4145: 4142: 4138: 4135: 4131: 4125: 4122: 4116: 4113: 4109: 4105: 4102: 4096: 4093: 4087: 4084: 4078: 4075: 4071: 4065: 4062: 4058: 4054: 4053:Chastel André 4049: 4046: 4042: 4037: 4035: 4031: 4025: 4022: 4017: 4013: 4009: 4005: 4001: 3997: 3993: 3989: 3985: 3981: 3977: 3970: 3967: 3963: 3958: 3955: 3949: 3947: 3945: 3941: 3937: 3936: 3931: 3930: 3923: 3920: 3917:Vasari:230–31 3914: 3912: 3908: 3902: 3899: 3893: 3890: 3884: 3881: 3875: 3872: 3866: 3863: 3857: 3854: 3851: 3847: 3844: 3839: 3836: 3830: 3827: 3824: 3820: 3816: 3810: 3807: 3801: 3798: 3794: 3788: 3785: 3781: 3775: 3772: 3766: 3763: 3759: 3755: 3750: 3747: 3734: 3730: 3726: 3720: 3717: 3713: 3709: 3706: 3702: 3698: 3695: 3689: 3686: 3683: 3679: 3675: 3669: 3666: 3660: 3657: 3654: 3648: 3645: 3639: 3636: 3632: 3628: 3625: 3619: 3616: 3610: 3607: 3601: 3598: 3594: 3590: 3587: 3582: 3579: 3575: 3569: 3566: 3563: 3562:3-900731-33-0 3559: 3555: 3549: 3546: 3540: 3537: 3531: 3528: 3524: 3518: 3515: 3511: 3506: 3504: 3500: 3496: 3491: 3488: 3484: 3479: 3476: 3472: 3467: 3464: 3460: 3455: 3452: 3446: 3444: 3440: 3436: 3431: 3428: 3424: 3419: 3416: 3410: 3407: 3401: 3398: 3392: 3389: 3383: 3380: 3374: 3371: 3365: 3362: 3356: 3353: 3349: 3345: 3340: 3337: 3334: 3330: 3327: 3321: 3318: 3312: 3309: 3303: 3300: 3294: 3291: 3279: 3277:9781602393684 3273: 3269: 3268: 3263: 3257: 3254: 3248: 3245: 3238: 3235: 3229: 3226: 3220: 3217: 3212: 3208: 3202: 3199: 3193: 3190: 3184: 3181: 3175: 3172: 3168: 3163: 3160: 3154: 3151: 3145: 3142: 3136: 3133: 3127: 3124: 3118: 3115: 3109: 3106: 3100: 3097: 3091: 3088: 3082: 3079: 3073: 3070: 3064: 3061: 3055: 3052: 3046: 3043: 3037: 3034: 3030: 3025: 3022: 3016: 3013: 3008: 3004: 3000: 2995: 2992: 2988: 2982: 2979: 2973: 2970: 2964: 2961: 2955: 2952: 2947: 2940: 2937: 2931: 2928: 2925:(1483–1520)." 2923: 2917: 2913: 2909: 2903: 2899: 2891: 2888: 2885: 2881: 2877: 2873: 2869: 2866: 2860: 2857: 2852: 2851: 2846: 2841: 2835: 2832: 2828: 2823: 2820: 2814: 2811: 2807: 2803: 2802: 2795: 2792: 2788: 2787: 2775: 2772: 2768: 2762: 2759: 2753: 2750: 2746: 2739: 2736: 2730: 2727: 2723: 2717: 2714: 2710: 2706: 2700: 2697: 2693: 2689: 2683: 2680: 2676: 2672: 2668: 2664: 2660: 2656: 2652: 2648: 2644: 2638: 2635: 2631: 2630: 2623: 2619: 2616: 2613: 2610: 2608: 2605: 2604: 2600: 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: 2429: 2423: 2422: 2414: 2409: 2405: 2404: 2397: 2392: 2389: 2388: 2380: 2375: 2368: 2363: 2360: 2358: 2356: 2352: 2349: 2345: 2340: 2338: 2334: 2330: 2326: 2321: 2319: 2315: 2310: 2308: 2304: 2300: 2296: 2292: 2288: 2280: 2279: 2274: 2267: 2262: 2255: 2250: 2246: 2242: 2238: 2232: 2227: 2223: 2219: 2213: 2208: 2206: 2204: 2200: 2196: 2195: 2194:The Parnassus 2190: 2186: 2182: 2177: 2175: 2171: 2167: 2163: 2159: 2151: 2145: 2144: 2135: 2130: 2127: 2120: 2115: 2111: 2110: 2102: 2097: 2094: 2091: 2087: 2081: 2076: 2069: 2064: 2057: 2052: 2045: 2040: 2033: 2028: 2026: 2024: 2018: 2016: 2012: 2006: 2004: 2003:John Shearman 1999: 1990: 1986: 1979: 1973: 1972: 1965: 1960: 1956: 1955: 1948: 1943: 1939: 1938: 1931: 1926: 1916: 1915: 1908: 1903: 1899: 1898: 1891: 1886: 1881: 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: 1777: 1775: 1773: 1769: 1765: 1761: 1757: 1753: 1749: 1745: 1741: 1737: 1733: 1729: 1725: 1721: 1720: 1715: 1714: 1705: 1699: 1695: 1694: 1687: 1682: 1678: 1674: 1673: 1666: 1661: 1657: 1653: 1652: 1645: 1640: 1636: 1632: 1631: 1624: 1619: 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: 1475: 1473: 1471: 1467: 1464:According to 1462: 1460: 1459: 1450: 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: 1305: 1299: 1298: 1291: 1286: 1282: 1281: 1274: 1269: 1265: 1264: 1257: 1252: 1249: 1243: 1238: 1236: 1234: 1233:Michael Levey 1230: 1226: 1222: 1218: 1213: 1210: 1206: 1202: 1196: 1194: 1191: 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