The following is a list of paintings by the Italian Renaissance painter Raphael. Together with Michelangelo and Leonardo da Vinci he forms the traditional trinity of great masters of that period. He was enormously prolific. Despite his early death at 37, a large body of work remains, especially in the Vatican, where Raphael and a large team of assistants, executing his drawings under his direction, frescoed the Raphael Rooms known as the Stanze. He was extremely influential in his lifetime, but after his death the influence of his rival Michelangelo was more widespread until the 18th and 19th centuries, when his more tranquil qualities were again widely taken as models.
Image | Year Title | Gallery Country | Technique Dimensions (cm) |
---|---|---|---|
1499–1502: Resurrection of Christ | São Paulo Museum of Art, Brazil | Oil on panel 57 x 47 | |
c. 1499: Banner of the Holy Trinity | Pinacoteca Comunale, Città di Castello | Oil on canvas 166 x 94 | |
c. 1499: The Creation of Eve from Adam's Rib | Pinacoteca Comunale, Città di Castello | Oil on canvas 166 x 94 | |
1500–1501: Angel | Pinacoteca Civica Tosio Martinengo, Brescia, Italy | Oil on canvas transferred from panel 31 x 26 | |
1500–1501: Angel Holding a Scroll | Louvre, Paris, France | Oil on panel 58 x 36 | |
1500–1501: God the Father and the Virgin Mary | Museo di Capodimonte, Naples, Italy | Tempera on panel 110 x 73 | |
1501–1502: Saint Sebastian | Accademia Carrara di Belle Arti di Bergamo, Italy | Oil on panel 45,1 x 36,5 | |
c. 1502: Saint Francis of Assisi (Raphael) | Dulwich Picture Gallery, London, United Kingdom | Oil on panel 25 x 16 | |
c. 1502: Saint Anthony of Padua (Raphael) | Dulwich Picture Gallery, United Kingdom | Oil on panel 25 x 16 | |
c. 1502: Portrait of a Man | Galleria Borghese, Rome, Italy | Oil on panel 45 x 31 | |
c. 1502: Madonna and Child between Saints Jerome and Francis | Gemäldegalerie, Berlin, Germany | Oil on panel 34 x 29 | |
c. 1502: Solly Madonna | Gemäldegalerie, Berlin, Germany | Oil on panel 52 x 38 | |
1502–1503: Madonna and Child with the Book | Norton Simon Museum, Pasadena, United States | Oil on panel 55,2 x 40 | |
1502–1503: Mond Crucifixion | National Gallery, London, United Kingdom | Oil on panel 283,3 x 167,3 | |
1502–1503: Saint Eusebius Resurrecting Three People | National Museum of Ancient Art, Lisbon, Portugal | Oil on panel 25,6 x 43,9 | |
1503: Saint Jerome Punishing the Heretic Sabinian | North Carolina Museum of Art, Raleigh, United States | Oil on panel 25,7 x 41,9 | |
1502–1504: Coronation of the Virgin | Vatican Museums, Vatican City | Tempera on panel transferred to canvas 272 x 165 | |
1502–1504: The Annunciation | Vatican Museums, Vatican City | Tempera on panel 27 x 50 | |
1502–1504: The Adoration of the Magi | Vatican Museums, Vatican City | Tempera on panel 27 x 50 | |
1502–1504: The Presentation in the Temple | Vatican Museums, Vatican City | Tempera on panel 27 x 50 | |
c. 1503: Diotallevi Madonna | Gemäldegalerie, Berlin, Germany | Oil on panel 69 x 50 | |
c. 1503: Self-Portrait | Alte Pinakothek, Munich, Germany | [1] [lower-alpha 1] | |
1503–1504: Young Man with an Apple | Uffizi, Florence, Italy | Tempera on panel 48 x 35,5 | |
1503–1505: Saint George | Louvre, Paris, France | Oil on panel 29 x 25 | |
1503–1505: Saint Michael | Louvre, Paris, France | Oil on panel 30 x 26 | |
1503–1505: Portrait of a Young Man (Ippolito d'Este?) | Museum of Fine Arts (Budapest), Hungary | Oil on panel 54 x 39 | |
1504: The Marriage of the Virgin | Pinacoteca di Brera, Milan, Italy | Oil on panel 170 x 117 | |
1504: Conestabile Madonna | Hermitage Museum, Saint Petersburg, Russia | Tempera on canvas transferred from panel 17,5 x 18 | |
c. 1504 Madonna and Child Enthroned with Saints | Metropolitan Museum of Art, New York, United States | Oil and gold on panel 169,5 x 168,9 | |
c. 1504 The Agony in the Garden | Metropolitan Museum of Art, New York, United States | Oil on panel 24,1 x 28,9 | |
Lamentation over the Dead Christ (Raphael) | Isabella Stewart Gardner Museum, Boston, United States | Oil on panel 23,5 x 28,8 | |
c. 1504 An Allegory ('Vision of a Knight') | National Gallery, London, United Kingdom | Oil on panel 17,1 x 17,3 | |
c. 1504 Three Graces | Musée Condé, Chantilly, France | Oil on panel 17 x 17 | |
1504–1505 The Procession to Calvary (Raphael) | National Gallery, London, United Kingdom | Oil on panel 24,4 x 85,5 | |
1504–1505 Madonna del Granduca | Palazzo Pitti, Florence, Italy | Oil on panel 84,4 x 55,9 | |
1505: Ansidei Madonna | National Gallery, London, United Kingdom | Oil on panel 216,8 x 147,6 | |
1505: Saint John the Baptist Preaching (Raphael) | National Gallery, London, United Kingdom | Oil on panel 26,2 x 52 | |
c. 1505 Small Cowper Madonna | National Gallery of Art, Washington, United States | Oil on panel 59,5 x 44 | |
c. 1505: Terranuova Madonna | Gemäldegalerie, Berlin, Germany | Oil on panel Diameter 88,5 | |
1505–1506: Christ Blessing | Pinacoteca Civica Tosio Martinengo, Brescia, Italy | Oil on panel 32 x 25 | |
1505–1506: Madonna of the Goldfinch | Uffizi, Florence, Italy | Tempera on panel 107 x 77 | |
1505–1506: Madonna of the Meadow | Kunsthistorisches Museum, Vienna, Austria | Oil on panel 113 x 88,5 | |
1505–1506: La Donna Gravida | Palazzo Pitti, Florence, Italy | Oil on panel 68,8 x 52,6 | |
1505–1507: Madonna with Beardless Saint Joseph | Hermitage Museum, Saint Petersburg, Russia | Tempera on canvas, transferred from panel 72,5 x 56,5 | |
1506: Portrait of Agnolo Doni | Uffizi, Florence, Italy | Oil on panel 63 x 45 | |
1506: Portrait of Maddalena Doni | Uffizi, Florence, Italy | Oil on panel 63 x 45 | |
1506: Lady with a Unicorn | Galleria Borghese, Rome, Italy | Oil on panel 65 x 51 | |
1506: The Holy Family With a Palm Tree | Scottish National Gallery, Edinburgh, United Kingdom | Oil and gold on canvas transferred from panel diameter 101,5 | |
c. 1506: Self-portrait | Palazzo Pitti, Florence, Italy | Tempera on panel 47,5 x 33 | |
c. 1506: Saint George and the Dragon | National Gallery of Art, Washington, United States | Oil on panel 28,5 x 21,5 | |
1506–1507: The Madonna of the Pinks ('La Madonna dei Garofani') | National Gallery, London, United Kingdom | Oil on panel 27,9 x 22,4 | |
1507: Canigiani Holy Family | Alte Pinakothek, Munich, Germany | Oil on panel 131 x 107 | |
1507: The Holy Family with a Lamb | Museo del Prado, Madrid, Spain | Oil on panel 28 x 21,5 | |
1507: La Madonna de Bogota (Madonna with the Child) | NY Bank Vault, New York, United States | ? | |
1507: The Deposition | Galleria Borghese, Rome, Italy | Oil on panel 184 x 176 | |
1507: Faith, Hope and Charity [2] | Vatican Museums, Vatican City | Tempera on panel 18 x 44 each | |
c. 1507: Orléans Madonna | Musée Condé, Chantilly, France | Oil on panel 29 x 21 | |
c. 1507: Saint Catherine of Alexandria | National Gallery, London, United Kingdom | Oil on panel 72,2 x 55,7 | |
c. 1507: Bridgewater Madonna | Scottish National Gallery, Edinburgh, United Kingdom | Oil and gold on canvas, transferred from panel 81 x 55 | |
c. 1507: Portrait of a Young Woman (La Muta) | Galleria Nazionale delle Marche, Urbino, Italy | Oil on panel 64 x 48 | |
1507–1508: The Virgin and Child with the Infant Saint John the Baptist (La belle jardinière) | Louvre, Paris, France | Oil on panel 122 x 80 | |
1507–1508: Madonna of the Baldacchino | Palazzo Pitti, Florence, Italy | Oil on canvas 279 x 217 | |
1507–1508: Colonna Madonna | Gemäldegalerie, Berlin, Germany | Oil on panel 52 x 38 | |
1508: Tempi Madonna | Alte Pinakothek, Munich, Germany | Oil on panel 75 x 51 | |
1508: Niccolini-Cowper Madonna | National Gallery of Art, Washington, United States | Oil on panel 80,7 x 57,5 | |
1508: Esterhazy Madonna | Museum of Fine Arts, Budapest, Hungary | Tempera and oil on panel 28,5 × 21,5 | |
1509–1510: Garvagh Madonna | National Gallery, London, United Kingdom | Oil on panel 38,9 x 32,9 | |
1509–1510: La Disputa | Vatican Museums, Vatican City | Fresco 500 x 770 | |
1509–1510: The School of Athens | Vatican Museums, Vatican City | Fresco 500 x 770 | |
1509–1510: Madonna of Loreto | Musée Condé, Chantilly, France | Oil on panel 120 x 90 | |
1509–1511: Mackintosh Madonna | National Gallery, London, United Kingdom | Oil (almost entirely repainted) on canvas, transferred from panel 78,8 x 64,2 | |
1509–1511: Portrait of Cardinal Alessandro Farnese | Museo di Capodimonte, Naples, Italy | Oil on panel 139 x 91 | |
c. 1510: Alba Madonna | National Gallery of Art, Washington, United States | Oil on panel transferred to canvas diameter 94,5 | |
1510–1511: The Cardinal | Museo del Prado, Madrid, Spain | Oil on panel 79 x 61 | |
1511: The Parnassus | Vatican Museums, Vatican City | Fresco ? x 670 | |
1511: The Cardinal Virtues | Vatican Museums, Vatican City | Fresco ? x 660 | |
1511: Portrait of Pope Julius II | National Gallery, London, United Kingdom | Oil on panel 108,7 x 81 | |
1511–1512: The Prophet Isaiah | Basilica of Sant'Agostino, Rome, Italy | Fresco 250 x 155 | |
1511–1512: The Expulsion of Heliodorus from the Temple | Vatican Museums, Vatican City | Fresco ? x 750 | |
1511–1512: Madonna of Foligno | Vatican Museums, Vatican City | Tempera on panel transferred onto canvas 308 x 198 | |
1511–1513: The Triumph of Galatea | Villa Farnesina, Rome, Italy | Fresco 750 x 570 | |
c. 1512: Portrait of Pope Julius II | Uffizi, Florence, Italy | Oil on panel 108,5 x 80 | |
1512–1513: Sistine Madonna | Gemäldegalerie Alte Meister, Dresden, Germany | Oil on canvas 265 х 196 | |
1513: [3] Madonna of Leo X [3] [4] | Private collection, Zurich, Switzerland [3] | Oil on canvas 119 x 82,5 [3] | |
c. 1513: Madonna of the Candelabra | Walters Art Museum, Baltimore, United States | Oil on panel 65,7 х 64 | |
1513–1514: Madonna with the Fish | Museo del Prado, Madrid, Spain | Oil on panel 215 x 158 | |
1513–1514: Madonna della seggiola (Madonna and Child with the Infant Saint John the Baptist) | Palazzo Pitti, Florence, Italy | Oil on panel diameter 71 | |
1513–1514: Madonna dell'Impannata | Palazzo Pitti, Florence, Italy | Oil on panel 160 x 127 | |
1514: Madonna della tenda | Alte Pinakothek, Munich, Germany | Oil on panel 65,8 x 51,2 | |
1514: The Sibyls | Santa Maria della Pace, Rome, Italy | Fresco x 615 | |
1514–1515: Portrait of Baldassare Castiglione | Louvre, Paris, France | Oil on canvas 82 x 67 | |
1514–1515: Ecstasy of Saint Cecilia Between Saints Paul, John Evangelist, Augustine and Mary Magdalene | Pinacoteca Nazionale di Bologna, Italy | Oil on panel transferred to canvas 236 x 139 | |
c. 1515: Portrait of Bindo Altoviti | National Gallery of Art, Washington, United States | Oil on panel 59,7 x 43,8 | |
1515–1516: Christ Falls on the Way to Calvary | Museo del Prado, Madrid, Spain | Oil on panel 318 x 229 | |
1515–1516: Woman with a Veil (La donna velata) | Palazzo Pitti, Florence, Italy | Oil on canvas 82 x 60,5 | |
1515–1516: Portrait of Tommaso Inghirami | Palazzo Pitti, Florence, Italy | Oil on panel 89,5 x 62,8 | |
c. 1516: Portrait of Tommaso Inghirami | Isabella Stewart Gardner Museum, Boston, United States | Oil on panel 89,7 x 62,2 | |
c. 1516: Portrait of Cardinal Bibbiena | Palazzo Pitti, Florence, Italy | Oil on canvas 85 x 66,3 | |
c. 1516: Portrait of Andrea Navagero and Agostino Beazzano | Doria Pamphilj Gallery, Rome, Italy | Oil on canvas 77 x 111 | |
c. 1516: Madonna del Passeggio | Scottish National Gallery, Edinburgh, United Kingdom | Oil and gold on panel 90 x 63,3 | |
c. 1517: Visitation | Museo del Prado, Madrid, Spain | Oil on panel 200 x 145 | |
1518-1520: Madonna of the Rose | Museo del Prado, Madrid, Spain | Oil on canvas 103 x 84 | |
1518: Holy Family of Francis I | Louvre, Paris, France | Oil on canvas transferred from panel 207 x 140 | |
1518: The Vision of Ezekiel | Palazzo Pitti, Florence, Italy | Oil on panel 40,7 x 29,5 | |
1518: Saint Michael Vanquishing Satan | Louvre, Paris, France | Oil on canvas transferred from panel 268 x 160 | |
c. 1518: Saint Margaret and the Dragon | Kunsthistorisches Museum, Vienna, Austria' | Oil on panel 192 x 122 | |
c. 1518: Portrait of a Young Woman | Musée des Beaux-Arts de Strasbourg, France | Oil on panel 60 x 40 | |
c. 1518: Portrait of Lorenzo de' Medici, Duke of Urbino | Private collection | Oil on canvas 97.2 × 79.4 | |
c. 1518: Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi | Uffizi, Florence, Italy | Tempera on panel 155,5 x 119,5 | |
c. 1518: The Pearl [5] | Museo del Prado, Madrid, Spain | Oil on panel 147,4 x 116 | |
1518–1519: Self-portrait with a Friend | Louvre, Paris, France | Oil on canvas 99 x 83 | |
1518–1520: Holy Family Under an Oak Tree | Museo del Prado, Madrid, Spain | Oil on panel 144 x 110 | |
1520: La fornarina | Palazzo Barberini, Rome, Italy | Oil on panel 87 x 63 | |
1516–1520: The Transfiguration | Vatican Museums, Vatican City | Tempera on panel 410 x 279 |
Michelangelo di Lodovico Buonarroti Simoni, known mononymously as Michelangelo, was an Italian sculptor, painter, architect, and poet of the High Renaissance. Born in the Republic of Florence, his work was inspired by models from classical antiquity and had a lasting influence on Western art. Michelangelo's creative abilities and mastery in a range of artistic arenas define him as an archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. Given the sheer volume of surviving correspondence, sketches, and reminiscences, Michelangelo is one of the best-documented artists of the 16th century. He was lauded by contemporary biographers as the most accomplished artist of his era.
Raffaello Sanzio da Urbino, now generally known in English as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Leonardo da Vinci and Michelangelo, he forms the traditional trinity of great masters of that period.
The Sistine Chapel ceiling, painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.
Pietro Perugino, an Italian Renaissance painter of the Umbrian school, developed some of the qualities that found classic expression in the High Renaissance. Raphael became his most famous pupil.
Sebastiano del Piombo was an Italian painter of the High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.
The four Raphael Rooms form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.
Caravaggio created one of his most admired altarpieces, The Entombment of Christ, in 1603–1604 for the second chapel on the right in Santa Maria in Vallicella, a church built for the Oratory of Saint Philip Neri. A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens, Fragonard, Géricault and Cézanne.
The Portrait of a Young Woman is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.
The Transfiguration is the last painting by the Italian High Renaissance master Raphael. Cardinal Giulio de Medici – who later became Pope Clement VII – commissioned the work, conceived as an altarpiece for Narbonne Cathedral in France; Raphael worked on it in the years preceding his death in 1520. The painting exemplifies Raphael's development as an artist and the culmination of his career. Unusually for a depiction of the Transfiguration of Jesus in Christian art, the subject is combined with the next episode from the Gospels in the lower part of the painting. The work is now in the Pinacoteca Vaticana in the Vatican City.
The Self-Portrait with a Friend is a painting by Italian High Renaissance painter Raphael. It dates to 1518–1520, and is in the Louvre Museum of Paris, France. Whether the figure on the left is actually a self-portrait by Raphael is uncertain, although it was already identified as such in a 16th-century print.
Jan Sanders van Hemessen was a leading Flemish Renaissance painter, belonging to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting. Van Hemessen had visited Italy during the 1520s, and also Fontainebleau near Paris in the mid 1530s, where he was able to view the work of the colony of Italian artists known as the First School of Fontainebleau, who were working on the decorations for the Palace of Fontainebleau. Van Hemessen's works show his ability to interpret the Italian models into a new Flemish visual vocabulary.
The School of Athens is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City.
La Belle Jardinière, also known as the Madonna and Child with Saint John the Baptist, is a painting started by the Italian High Renaissance artist Raphael, and finished by Ridolfo del Ghirlandaio, that depicts the Madonna, a young Christ, and a young John the Baptist. It is believed to have been commissioned by the Sienese patrician Fabrizio Sergardi in approximately 1507. It is currently displayed in the Louvre Museum in Paris, France.
The Expulsion of Heliodorus from the Temple is a fresco of the Italian renaissance painter Raphael. It was painted between 1511 and 1512 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that takes its name from it, the Stanza di Eliodoro.
Pope Julius II, commissioned a series of highly influential art and architecture projects in the Vatican. The painting of the Sistine Chapel ceiling by Michelangelo and of various rooms by Raphael in the Apostolic Palace are considered among the masterworks that mark the High Renaissance in Rome. His decision to rebuild St Peter's led to the construction of the present basilica.
Florentine painting or the Florentine School refers to artists in, from, or influenced by the naturalistic style developed in Florence in the 14th century, largely through the efforts of Giotto di Bondone, and in the 15th century the leading school of Western painting. Some of the best known painters of the earlier Florentine School are Fra Angelico, Botticelli, Filippo Lippi, the Ghirlandaio family, Masolino, and Masaccio.
Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian Peninsula, which was at that time divided into many political states, some independent but others controlled by external powers. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas.
This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo's Last Judgement of the 1530s.
Portrait of a Cardinal, or simply The Cardinal, is an oil on panel painting by the Italian Renaissance artist Raphael, dated to c. 1510–1511. It is held by the Prado Museum in Madrid.
Portrait of Pope Julius II is an oil painting of 1511–1512 by the Italian High Renaissance painter Raphael. The portrait of Pope Julius II was unusual for its time and would carry a long influence on papal portraiture. From early in its life, it was specially hung at the pillars of the church of Santa Maria del Popolo, on the main route from the north into Rome, on feast and high holy days. Giorgio Vasari, writing long after Julius' death, said that "it was so lifelike and true it frightened everyone who saw it, as if it were the living man himself".