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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 Disputation of the Sacrament (Italian: La disputa del sacramento), or Disputa, is a painting by the Italian Renaissance artist Raphael.It was painted between 1509 and 1510 [1] as the first 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.
Pages in category "Paintings of Raphael (archangel)" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes. A.
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 ]
The lightest areas are the subject's face seen nearly head-on, a billow of white shirt front at his chest, and his folded hands, which are mostly cropped at the bottom edge of the canvas. Castiglione is seen as vulnerable, possessing a humane sensitivity characteristic of Raphael's later portraits. [5]
He would use soft strokes to create lifelike images. Raphael’s drawings covered different subject, just most were related to religion or biblical depictions. [4] This is the case with Canigiani Holy Family. Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion. [5] Raphael used the ...
A surviving modello for the project, now in the Louvre (a workshop copy of a lost drawing by Raphael's assistant Gianfrancesco Penni) shows the dramatic change in the intended work. Modello for the Transfiguration of Christ, pen and brown ink with white highlights on paper primed with dark brown wash, 40 x 27 cm, c. 1516, Albertina
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.