| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 70241 |
 |
Madonna della Tenda |
Medium Oil on wood
Dimensions 65,8 X 51,2 cm
|
| 86964 |
 |
Madonna of Belvedere |
1506(1506)
Medium Oil on wood
cyf |
| 8741 |
 |
Madonna of Loreto (Madonna del Velo) at |
1509-10
Oil on wood, 120 x 90 cm
Mus??e Cond??, Chantilly |
| 89446 |
 |
Madonna Solly |
1502/1503
Medium oil on panel
Dimensions 52 x 38 cm (20.5 x 15 in)
cyf |
| 87980 |
 |
Madonna Terranuova, Szene: Maria mit Christuskind und zwei Heiligen, Tondo |
1504-1505
Medium Oil on wood
cjr |
| 8738 |
 |
Madonna with Beardless St Joseph sy |
1506
Tempera on canvas transferred from wood, 74 x 57 cm
The Hermitage, St. Petersburg |
| 8743 |
 |
Madonna with the Blue Diadem |
1510-11
Oil on wood, 68 x 44 cm
Mus??e du Louvre, Paris |
| 88339 |
 |
Madonna with the Blue Diadem |
between 1510(1510) and 1511(1511)
Medium Oil on wood
cyf |
| 8723 |
 |
Madonna with the Book (Connestabile Madonna) dy |
1504
Tempera on canvas transferred from wood, diameter 17,9 cm
The Hermitage, St. Petersburg |
| 51236 |
 |
Madonna with the Fish |
1512-14
Oil on canvas |
| 86662 |
 |
Madonna with the Fish |
Date between 1512(1512) and 1514(1514)
Medium Oil on canvas transferred from wood
Dimensions Height: 215 cm (84.6 in). Width: 158 cm (62.2 in).
cjr |
| 90615 |
 |
Madonna with the Fish |
between 1512(1512) and 1514(1514)
Medium Oil on canvas transferred from wood
cyf |
| 81904 |
 |
Maria mit Christuskind und zwei Heiligen, Tondo |
Date 1504-1505
Medium Oil on wood
cjr |
| 55659 |
 |
Meditation |
mk243
1508
120x105cm
|
| 55697 |
 |
Miraculous Fisherman |
mk243
1515
360x400cm
|
| 55698 |
 |
Miraculous Fisherman |
mk243
1515
360x400cm
temper
|
| 52285 |
 |
Moses Saved from the Water |
1518-19 Fresco Loggia on the second floor |
| 55680 |
 |
Mountain |
mk243
1510-1511
|
| 55643 |
 |
Mrs Yili |
mk243
1504-1505
58x36cm
|
| 55710 |
 |
Naked girl |
mk243
256x163cm
|
| 55660 |
 |
Original sin |
mk243
1508
120x105cm
|
| 55664 |
 |
Philosophy |
mk243
1508
|
| 63794 |
 |
Philosophy |
1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The woman enthroned is enveloped in a garment that has four colours, each of which represents one of the four elements, which in turn are symbolized by their pattern. Blue is for the stars (air), red is for the tongues of flame (fire), green is for the fish (water), and golden brown is for the flora (earth). Philosophy holds two books with the titles "Morals" and "Nature," while two genii hold texts with Cicero's words Causarum Cognitio (Know the Causes). This picture is situated above The School of Athens.Artist:RAFFAELLO Sanzio Title: Philosophy (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious |
| 55665 |
 |
Poetics |
mk243
1508
|
| 63795 |
 |
Poetry |
1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The lyre and the laurel wreath are the symbols of Poetry, who here appears as a winged figure. Like Aristotle in The School of Athens, she is holding a book in an unusual way; the title is not known. Two putti are holding the tablets on which are written the words of the Roman poet Virgil's, "Numine Afflatur" (Inspired by the Spirit). The Christian "spirit" is meant here, since putti are holding the text and not genii, as with the figure of Philosophy.Artist:RAFFAELLO Sanzio Title: Poetry (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious |
| 55704 |
 |
Portrai ot Fidela |
mk243
1515-1516
90x62cm
Oil on canvas
|
| 77755 |
 |
Portrait de Jeanne d Aragon |
Oil
Dimensions 95 ?? 120 cm (37.4 ?? 47.2 in)
cyf |
| 8744 |
 |
Portrait of a Cardinal |
1510-11
Oil on wood, 79 x 61 cm
Museo del Prado, Madrid |
| 82591 |
 |
Portrait of a Man |
Date ca. 1502(1502)
Medium Oil on wood
Dimensions Height: 45 cm (17.7 in). Width: 31 cm (12.2 in).
cjr |
| 8712 |
 |
Portrait of a Man aet |
c. 1502
Oil on wood, 45 x 31 cm
Galleria Borghese, Rome |
| 63818 |
 |
Portrait of a Woman |
1507 Oil on wood, 64 x 48 cm Galleria Nazionale, Urbino The female portrait known as The Mute Woman represents a return to the influence of Leonardo. It certainly comes from the Florentine environment, for it was given in trust to the National Gallery of the Marches by the Uffizi, where it had been stored for several hundred years. It was attributed to Raphael only recently. Leonardo inspires mainly the pose of the figure (whose characteristically crossed hands constitute a very clear reference to the Mona Lisa). The neatness of the large areas of colour which emerge in lighter tones from the near-black background, and the analytical treatment of the details of the woman's clothing are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour - used here in a fairly limited range - which unify the composition as a whole.Artist:RAFFAELLO Sanzio Title: Portrait of a Woman (La Muta) Painted in 1501-1550 , Italian - - painting : portrait |
| 8728 |
 |
Portrait of a Woman (La Donna Gravida) drty |
1505-06
Oil on panel, 66 x 52 cm
Galleria Palatina (Palazzo Pitti), Florence |
| 83844 |
 |
Portrait of a Young Man |
1514 Alternate: c. 1509-11
Medium Oil on parqueted board
Dimensions 59 x 75 cm (23.2 x 29.5 in)
cyf |
| 79895 |
 |
Portrait of a Young Man. |
c. 1509-11
Oil on parqueted board
59 x 75 cm (23.2 x 29.5 in)
cjr |
| 63786 |
 |
Portrait of a Young Woman |
1518-19 Oil on wood, 85 x 60 cm Galleria Nazionale d'Arte Antica, Rome Much of Raphael's energy during his last years was directed toward public activity, or at least toward commissioners who were influential in city life and life within the Papal States (he designed a villa, known as the Villa Madama, for Cardinal Giulio de' Medici). Furthermore, many critics attribute to him a series of compositions of the Holy Family and of Saints which were then executed by his followers. The famous portrait of a young woman, called La Fornarina, must also be viewed in this perspective, although it is signed, in Latin, "Raphael from Urbino". The signature is engraved on the thin ribbon that the girl wears just under her left shoulder. Tradition identifies her with Margherita Luti, a Sienese woman whom Raphael loved, the daughter of a baker from the Roman district of Santa Dorotea. The stiffness of her features and the heavy chiaroscuro effect make La Fornarina an almost certain workshop piece with the contribution of Raphael, for Raphael's own work from this period is far more delicate. There are several old copies of this painting, the most famous in the Galleria Borghese.Artist:RAFFAELLO Sanzio Title: Portrait of a Young Woman (La Fornarina) Painted in 1501-1550 , Italian - - painting : portrait |
| 81951 |
 |
Portrait of a Youth |
c. 1509-11
Medium oil on board
Dimensions 59 x 75 cm (23.2 x 29.5 in)
cjr |
| 8732 |
 |
Portrait of Agnolo Doni |
1506
Oil on wood, 63 x 45 cm
Galleria Palatina (Palazzo Pitti), Florence |
| 89851 |
 |
Portrait of Agnolo Doni |
c. 1506(1506)
Medium oil on panel
Dimensions 63 x 45 cm (24.8 x 17.7 in)
cyf |
| 55702 |
 |
Portrait of Badashalei |
mk243
1514-1515
82x67cm
Oil on canvas
|
| 55683 |
 |
Portrait of cardinal |
mk243
1510-1511
Oil on board
79x61cm
|
| 90614 |
 |
Portrait of Dona Isabel de Requesens |
1518(1518)
Medium Oil on wood transferred to canvas
cyf |
| 86661 |
 |
Portrait of Dona Isabel de Requesens, Vice-Queen of Naples |
Date 1518(1518)
Medium Oil on wood transferred to canvas
Dimensions Height: 120 cm (47.2 in). Width: 95 cm (37.4 in).
cjr |
| 55654 |
 |
Portrait of Duni |
mk243
63x45cm
1506
Oil on board
|
| 63782 |
 |
Portrait of Jeanne d'Aragon |
1518 Oil on wood transferred to canvas, 120 x 95 cm Mus?e du Louvre, Paris The painting was commissioned by Cardinal Bibbiena. It was intended as a gift for Francis I, King of France. It was executed by one of Raphael's pupils, perhaps on the basis of a design by Raphael. The painting was restored in 1540 by Primaticcio in Fontainebleau, after the restoration it was transferred from wood to canvas.Artist:RAFFAELLO Sanzio Title: Portrait of Jeanne d'Aragon Painted in 1501-1550 , Italian - - painting : portrait |
| 51238 |
 |
Portrait of Jeanne d-Aragon |
1518
Oil on wood |
| 88334 |
 |
Portrait of Julius II |
between 1511(1511) and 1512(1512)
Medium Oil on wood
cyf |
| 55652 |
 |
Portrait of Madali |
mk243
1506
63x45cm
Oil on board
|
| 8734 |
 |
Portrait of Maddalena Doni ft |
1506
Oil on panel, 63 x 45 cm
Galleria Palatina (Palazzo Pitti), Florence |
| 8715 |
 |
Portrait of Pietro Bembo |
c. 1504
Oil on wood, 54 x 69 cm
Museum of Fine Arts, Budapest |
| 87900 |
 |
Portrait of Pietro Bembo |
1504(1504)
Medium Oil on wood
cyf |
| 88218 |
 |
Portrait of Pietro Bembo |
1504(1504)
Medium Oil on wood
cyf |
| 88342 |
 |
Portrait of Tommaso Inghirami |
between 1510(1510) and 1514(1514)
Medium Oil on wood
cyf |
| 55648 |
 |
Portrait of woman |
mk243
1505-1506
66x52cm
Oil on canvas
|
| 55689 |
 |
Portrait of Yoliersi |
mk243
1512
107x80cm
Oil on board
|
| 55649 |
 |
Portrait of younger woman |
mk243
1505-1506
65x51cm
Oil on canvas
|
| 82205 |
 |
Portrat des Fedra Inghirami |
1515 - 1516
Medium Oil on panel
Dimensions 90 x 62 cm (35.4 x 24.4 in)
cyf |
| 79347 |
 |
Portrat des Papstes Leo X |
1518-1519
Medium Deutsch: Öl auf Holz
cyf |
| 85950 |
 |
Portrat einer jungen Frau |
between 1518(1518) and 1519(1519)
Medium Oil on wood
cyf |
| 63801 |
 |
Prime Mover |
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The figure bending in a beautiful scorcio over the celestial globe is a masterly example of perspective. Philosophically, this figure can be seen as an allegory of the beginning of the universe, but it might also be an embodiment of the science of astronomy. The constellation on the globe can be calculated exactly: the night of 31 October 1503, the date that Julius II was elected pope.Artist:RAFFAELLO Sanzio Title: Prime Mover (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious |
| 51284 |
 |
Psyche Offering Venus the Water of Styx |
1517
Red chalk,
263 x 197 mm |
| 55691 |
 |
Psychic and angel |
mk243
1514-1515
|
| 78687 |
 |
Raffael |
1518-1519
Medium Deutsch: Öl auf Holz
cyf |
| 67495 |
 |
Raffaello Angelo 1 |
Title Italiano: Angelo
Deutsch: Pala vom seligen Nikolaus von Tolentino, Detail: Engel
English: Angel, fragment of the Baronci Altarpiece
Year ?
Technique Oil on panel
Dimensions 31 X 27cm
|
| 83887 |
 |
Retrato de Pietro Bembo |
Date ca. 1504(1504)
Medium Oil on panel
Dimensions 54 x 39 cm
cjr |
| 87741 |
 |
Retrato de Pietro Bembo |
1504(1504)
Medium Oil on panel
Dimensions 54 x 39 cm
cyf |
| 87571 |
 |
ritratto virile della galleria borghese |
Oil on canvas
cyf |
| 58340 |
 |
Roveredo portrait |
mk261 Florence about 1504 oil painting of wood 47.3 x 35.3 cm |
| 84111 |
 |
Sao Joao Batista |
Date ca. 1518(1518)
Medium Oil on canvas
Dimensions Height: 165 cm (65 in). Width: 147 cm (57.9 in).
cjr |
| 55655 |
 |
Self-Portrait |
mk243
1506
45x33cm
|
| 8731 |
 |
Self-Portrait er78 |
1506
Oil on wood, 45 x 33 cm
Galleria degli Uffizi, Florence |
| 55707 |
 |
Shemikaier and devil |
mk243
1518
268x160cm
|
| 55637 |
 |
Shesibasi |
mk243
1501-1502
43x34cm
Oil on board
|
| 82580 |
 |
Solly Madonna |
Date ca. 1502(1502)
Medium Oil on wood
Dimensions Height: 52 cm (20.5 in). Width: 38 cm (15 in).
cjr |
| 89132 |
 |
Spozalizio |
1504(1504)
Medium Oil on roundheaded panel
cyf |
| 89133 |
 |
Spozalizio |
1504(1504)
Medium Oil on roundheaded panel
cyf |
| 8718 |
 |
Spozalizio (detail) at |
1504
Oil on roundheaded panel
Pinacoteca di Brera, Milan |
| 8717 |
 |
Spozalizio (detail) jkfg |
1504
Oil on roundheaded panel
Pinacoteca di Brera, Milan |
| 8716 |
 |
Spozalizio (The Engagement of Virgin Mary) af |
1504
Oil on roundheaded panel, 170 x 117 cm
Pinacoteca di Brera, Milan |
| 63821 |
 |
St Catherine of Alexandria |
1508 Oil on wood, 71,1 x 54,6 cm National Gallery, London Half-way between a work of private devotion and a collector's piece, this picture was probably painted just before Raphael's move to Rome. Rather more evident than the influence of Perugino is that of Leonardo, who perfected the `serpentine' pose in which the body twists about its axis, lending movement, grace and three-dimensional presence even to static figures. Characteristically, Raphael justifies this unnatural position through a narrative device: Catherine turns her head upwards and to her right in ecstatic communion with the divine light descending in thin gold rays from the sky. St Catherine of Alexandria is portrayed in a marvellous, twisted pose. Her left arm is leaning on her attribute, the wheel, and her right hand is pressed to her breast while she gazes up at a sky flooded with light. The composition is as rich in harmonious movement as the coloration is full and varied. The landscape is painted with particular care. Its light shading indicates a residual influence of Leonardo, although the jagged mountains which often characterize Leonardo's landscapes are absent. The delicate modelling of the saint, the slight torsion of her body as she leans on the wheel of her martyrdom (whose spikes have been reduced to rounded knobs in order to tone down the element of cruelty) fully express the balanced character of Raphael's art. The panel clearly shows the intense formal research which underlies Raphael's figurative creations. He is always careful not to excite emotions which he considers too intense and to mitigate tones and thematic elements in search of a perfect balance between design, colour, pose and expression, and between the figurative and ornamental elements.Artist:RAFFAELLO Sanzio Title: St Catherine of Alexandria Painted in 1501-1550 , Italian - - painting : religious |
| 82797 |
 |
St Catherine of Alexandria |
1508(1508)
Medium Oil on wood
cyf |
| 63785 |
 |
St Cecilia |
220 x 136 cm Pinacoteca Nazionale, Bologna Raphael probably accompanied Leo X when he went to Bologna to meet the King of France, Francis I, in 1515. He may have passed through Florence, where Leo was welcomed with great enthusiasm by his fellow citizens. Leonardo da Vinci - who later accepted the French King's invitation to Paris - and Michelangelo - to whom Leo X commissioned the New Sacristy of San Lorenzo - also followed the Pope. A letter which Raphael sent to the painter, Francesco Francia, provides proof of this journey. According to a legend, Francesco Francia died after seeing the St Cecilia which Raphael painted for the Church of San Giovanni in Monte in Bologna. The story is almost credible, for the Bolognese artistic environment still revolved around the style of Perugino. The painting was commissioned by Elena Duglioli dall'Olio of Bologna. She was famous for having visions and ecstatic fits in which music played a great part, which is probably why she asked for a picture of St Cecilia, the patron saint of music. Raphael decided on a painting in the style of a Sacra Conversazione, with St Cecilia in the centre surrounded by saints. The altarpiece, which is now in the Museum of Bologna, was placed in San Giovanni in Monte in 1515. It was painted some time before, however. The glorification of purity is the central idea behind this painting. This is expressed by the figures seen on both sides of the principal figure: St John the Evangelist is the patron saint of the church, and St Paul symbolizes innocence, while St Augustine and St Mary Magdalene stand for purity regained through atonement after sinful aberration. The four saints who surround the protagonist form a niche which is strengthened by the poses and gestures of the figures (the glances of the Evangelist and St Augustine cross, St Paul's is lowered and the Magdalene turns hers toward the spectator). Only St Cecilia raises her face toward the sky, where a chorus of angels appears through a hole in the clouds. The monumentality of the figures, typical of Raphael's activity during this period, dominates the other figurative elements. In the legend of St Cecilia, too, the painter emphasizes her desire to preserve her purity. As they were escorting Cecilia to the house of her betrothed, to the accompaniment of musical instruments, in her heart she called out only to God, beseeching Him to preserve the chastity of her heart and her body. So runs the fifth-century legend, and accordingly in this picture Cecilia does not hear the profane music, her eyes raised toward the heavens connects her directly with the choir of angels. This much is in complete agreement with the story of the Roman martyr.Artist:RAFFAELLO Sanzio Title: St Cecilia Painted in 1501-1550 , Italian - - painting : religious |
| 89861 |
 |
St Cecilia |
1514(1514)
Medium Oil transferred from panel to canvas
Dimensions Width: 60 cm (23.6 in). (of detail)
cjr |
| 51222 |
 |
St George and the Dragon |
1505-06
Oil on wood,
28.5 x 21.5 cm |
| 8725 |
 |
St George and the Dragon st |
1505-06
Oil on wood, 28.5 x 21.5 cm
National Gallery of Art, Washington |
| 88329 |
 |
St George Fighting the Dragon |
between 1503(1503) and 1505(1505)
Medium Oil on wood
cyf |
| 51263 |
 |
St John the Baptist |
c. 1518
Oil on canvas,
165 x 147 cm |
| 88330 |
 |
St Michael and the Dragon |
between 1503(1503) and 1505(1505)
Medium Oil on wood
cyf |
| 8726 |
 |
St Michael and the Dragon sdr |
c. 1505
Oil on wood, 31 x 27 cm
Mus??e du Louvre, Paris |
| 63778 |
 |
St Michael and the Satan |
1518 Oil transferred from wood to canvas, 268 x 160 cm Mus?e du Louvre, Paris The painting was a gift from the pope to the French king, Francis I. It was generally accepted that the painting is the work of Giulio Romano with the contribution of Raphael. It is now debated whether the work may not in fact be by Raphael after all, the stylistic anomalies being attributable to poor restoration techniques.Artist:RAFFAELLO Sanzio Title: St Michael and the Satan Painted in 1501-1550 , Italian - - painting : religious |
| 51286 |
 |
St Paul Preaching in Athens |
Tempera on paper,
mounted on canvas,
390 x 440 cm |
| 8705 |
 |
St Sebastian |
1501-02
Oil on wood, 43 x 34 cm
Accademia Carrara, Bergamo |
| 84559 |
 |
St Sebastian |
Date between 1501(1501) and 1502(1502)
Medium Oil on wood
cjr |
| 88409 |
 |
St Sebastian |
between 1501(1501) and 1502(1502)
Medium Oil on wood
cyf |
| 55705 |
 |
Story |
mk243
1518-1519
|
| 51296 |
 |
Study for the Disputa |
1509
Brush and white highlighting over stylus underdrawing, 280 x 285 mm |
| 55713 |
 |
Study of bury |
mk243
1507
182x205cm
|
| 55719 |
 |
Study of Mary |
mk243
|
| 63815 |
 |
The Adoration of the Magi |
1502-03 Oil on canvas, 27 x 150 cm Pinacoteca, Vatican Extant drawings demonstrate the tremendous amount of thought which Raphael put into the realization of the Oddi Altarpiece and some details, notably the highly individual faces of the Apostles and the serene landscape in the background, are quite masterful. But the most meaningful passages are found in the predella scenes: the vast space which opens out beneath the colonnades of the Annunciation; the highly animated Adoration of the Magi; and the free quality of the atmosphere in the Presentation in the Temple, which foreshadows the extraordinary spatial intuition of some of the artist's future Vatican compositions.Artist:RAFFAELLO Sanzio Title: The Adoration of the Magi (Oddi altar) Painted in 1501-1550 , Italian - - painting : religious |
| 8710 |
 |
The Adoration of the Magi (Oddi altar) set |
1502-03
Oil on canvas, 27 x 150 cm
Pinacoteca, Vatican |
| 8747 |
 |
The Alba Madonna |
1511
Oil on canvas, diameter 98 cm
National Gallery of Art, Washington |
