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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 [Wikidata] Metropolitan Museum of Art, New York, United States: Oil on panel 24,1 x 28,9 Lamentation over the Dead Christ (Raphael) [Wikidata] Isabella Stewart Gardner Museum, Boston, United States: Oil on panel 23,5 x 28,8 c ...
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", borrowing figures from here and there. [ 75 ]
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Raphael humanized male gender so that the sleeve ribbon and hazy edges around both hair and landscape reflected the interchangeability of each gender. A left palm placed near the heart emphasized self-identity and a passionate stance. A striking contrast between pure white and sable intensified the doctrinal harmony between Heaven and Earth.
The painting possesses an esthetic influence from Pinturicchio and Melozzo da Forlì, though the spatial orchestration of the work, with its tendency to movement, shows Raphael's knowledge of the Florentine artistic milieu of the 16th century. [2] The work was acquired by the São Paulo Museum of Art in 1954.
The Visitation is a c. 1517 painting of the Visitation of the Virgin Mary to Saint Elizabeth by Raphael, in the Prado Museum since 1837. [1] Commissioned by the Apostolic Protonotary Giovanni Branconio at his father Marino's request for their family chapel in the church of San Silvestre in Aquila (Marino's wife was called Elisabeth), it was plundered by the occupation troops of Philip IV of ...
The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino. The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences.
The cartoons are mirror-images of the finished tapestries, which were worked from behind. [7] Raphael's workshop would have assisted in the completion of the cartoons which were finished with great care. The cartoons show a much greater range of colours and more subtle gradation than could be reproduced in a tapestry.