Here are all the paintings of RAFFAELLO Sanzio 02

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