Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,   Related Paintings of RAFFAELLO Sanzio :. | Madonna della Tenda | Meditation | Christ Bury | Ware | Loggia of Pope Leo X |
Related Artists:
Ciro Ferri
Italian Baroque Era Painter and Sculptor , ca.1634-1689 was an Italian Baroque sculptor and painter, the chief pupil and successor of Pietro da Cortona. He was born in Rome, where he began working under Cortona and with a team of artists in the extensive fresco decorations of the Quirinal Palace (1656-1659). He collaborated with Cortona and completed for him the extensive frescoed ceilings and other internal decorations begun in the Pitti Palace, Florence (1659-1665). His independent masterpiece is considered an extensive series of scriptural frescoes in the church of Basilica di Santa Maria Maggiore (Bergamo). In addition, also well known is his an altarpiece of St Ambrose Healing the Sick in the church of Sant'Ambrogio della Massima in Rome. In 1670, he began the painting of the cupola of Sant'Agnese in Agone in central Rome, in a style recalling of Lanfranco's work in the dome of Sant'Andrea della Valle; but died before it was completed in 1693 by his successor Sebastiano Corbellini. He executed also a large amount of miscellaneous designs, such as etchings and frontispieces for books; and served as an architect as well. Ferri was appointed to direct the Florentine students in Rome, and Gabbiani was one of his leading pupils. As regards style, Ferri ranks as chief of the grand manner of Cortona, as opposed to the more sober and spare style promulgated by Andrea Sacchi, and continued by Carlo Maratta and others.
Egbert van der Poel
Egbert van der Poel (Delft, 1621 - Rotterdam, 1664) was a Dutch Golden Age genre and landscape painter, son of a Delft goldsmith. He may possibly have been a student of Esaias van de Velde and of Aert van der Neer. According to the RKD he was the brother of the painter Adriaen Lievensz van der Poel and a student of Cornelis Saftleven in Rotterdam. Van der Poel was registered with the Guild of St Luke in Delft on October 17, 1650, where he is listed as a landscape painter. In 1651 van der Poel married Aeltgen Willems van Linschooten in Maassluis, near Rotterdam. His most famous paintings depict the Delft gunpowder explosion of October 12, 1654 and its aftermath; he and his wife were living in the area at the time. Egbert and Aeltgen van der Poel had a son and three daughters. He died in Rotterdam in 1664.
Pagani, Gregorio
Italian, 1558-1605 Italian painter. He trained in the studio of the Late Mannerist Maso da San Friano, but then studied with the more progressive Santi di Tito. There he became friends with Ludovico Cigoli: the two artists, who desired to renew the art of painting, studied from nature and developed an interest in Venetian and Emilian art. Pagani was deeply influenced by Correggio. His earliest surviving works include the frescoes of the Confirmation of the Rule of St Dominic (c. 1580; Florence, S Maria Novella, Chiostro Grande) and the Meeting between SS Dominic and Francis (Florence, Convento dei Cappuccini di Monturghi). In 1592 he painted the Virgin and Saints (St Petersburg, Hermitage), a work that already reveals his interest in Correggio. In the same year he painted a Finding of the True Cross (untraced), a daring composition that is preserved in preparatory drawings. A number of works from the 1590s survive and show Pagani's interest in Emilian art; the Crucifixion and Saints (1595; Florence, S Bartolomeo in Pozzo) and the Virgin and Child with SS Michael the Archangel and Benedict (1595; Florence, S Michele Arcangelo Le Ville). At the turn of the century Pagani was increasingly associated with those Florentine artists who wished to develop a new narrative clarity and directness. His pictures (e.g. Pyramus and Thisbe; Florence, Uffizi) show figures carefully posed with varied expressions and gestures. In the early 17th century Pagani became yet more attracted by naturalism, as in the St Lawrence (1600) in the basilica of the Madonna delle Grazie at San Giovanni, Valdarno. Through his friendship with Bartolomeo Carducho he was influenced by Spanish art, as is evident in the Adoration of the Magi