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The Adoration of the Magi (Oddi altar) set
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The_Adoration_of_the_Magi_(Oddi_altar)_set
1502-03
Oil on canvas, 27 x 150 cm
Pinacoteca, Vatican
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The Presentation in the Temple (Oddi altar, predella)
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The_Presentation_in_the_Temple_(Oddi_altar,_predella)
1502-03
Oil on canvas, 27 x 50 cm
Pinacoteca, Vatican
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Portrait of a Man aet
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Portrait_of_a_Man_aet
c. 1502
Oil on wood, 45 x 31 cm
Galleria Borghese, Rome
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Portrait of Pietro Bembo
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Portrait_of_Pietro_Bembo
c. 1504
Oil on wood, 54 x 69 cm
Museum of Fine Arts, Budapest
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Spozalizio (The Engagement of Virgin Mary) af
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Spozalizio_(The_Engagement_of_Virgin_Mary)_af
1504
Oil on roundheaded panel, 170 x 117 cm
Pinacoteca di Brera, Milan
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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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