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Portrait of Pietro Bembo
new25/RAFFAELLO Sanzio-947888.jpg
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Portrait_of_Pietro_Bembo
1504(1504)
Medium Oil on wood
cyf
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Visitation
new25/RAFFAELLO Sanzio-555753.jpg
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Visitation
1517(1517)
Medium Oil on canvas
Dimensions 200 x 145 cm (78.7 x 57.1 in)
cjr
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Angel
new25/RAFFAELLO Sanzio-553354.jpg
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Angel
1500-1501
Medium Oil on wood
Dimensions 57 x 36 cm (22.4 x 14.2 in)
cyf
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St George Fighting the Dragon
new25/RAFFAELLO Sanzio-979875.jpg
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St_George_Fighting_the_Dragon
between 1503(1503) and 1505(1505)
Medium Oil on wood
cyf
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St Michael and the Dragon
new25/RAFFAELLO Sanzio-548484.jpg
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St_Michael_and_the_Dragon
between 1503(1503) and 1505(1505)
Medium Oil on wood
cyf
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RAFFAELLO_Sanzio
Italian High Renaissance Painter, 1483-1520
Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,
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