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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 ...
The Resurrection of Christ (1499–1502), also called The Kinnaird Resurrection (after a former owner of the painting, Lord Kinnaird), is an oil painting on wood by the Italian High Renaissance master Raphael. The work is one of the earliest known paintings by the artist, executed between 1499 and 1502.
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. Raphael had arrived in Rome in 1508, and quickly found great success during the papacy of Pope Julius II.
The upper register of the painting includes, from left to right, James, Peter and John, [29] traditionally read as symbols of faith, hope and love; hence the symbolic colours of blue-yellow, green and red for their robes. [3] In the lower register, Raphael depicts the Apostles attempting to free the possessed boy of his demonic possession. They ...
And in truth, whoever considers the diligence, love, art and grace shown by this picture, has great reason to marvel, for it amazes all who behold it, what with the air of the figures, the beauty of the draperies, and in short, the supreme excellence that it reveals in every part.
Accordingly, three classical cardinal virtues (Fortitude, Prudence and Temperance) are attended by five putti, three of whom depict the theological virtues of Charity, Hope, and Faith. [4] On the left, Raphael painted Fortitude. Armor-clad, she caresses a lion with her left hand while grasping a sapling of black oak with her right. [5]
The image depicts three of the Graces of classical mythology. It is frequently asserted that Raphael was inspired in his painting by a ruined Roman marble statue displayed in the Piccolomini Library of the Siena Cathedral—19th-century art historian [Dan K] held that it was a not very skillful copy of that original—but other inspiration is possible, as the subject was a popular one in Italy.
The other religious symbol seen is the faint halos that disappeared as artists entered the High Renaissance. The book that the Madonna is holding is believed to contain the foretelling of Christ's death. [4] The way Raphael composed the painting creates a sense of intimacy between Mary and Christ, with John the Baptist as witness.