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 dell'Impannata | The Miraculous Draught of Fishes | Wearing veil woman | The virgin mary | Madonna with the Fish |
Related Artists:
Georg Flegel
1566-1638 Georg Flegel Location German painter. He was the son of a shoemaker, and not being a Roman Catholic, probably moved to Vienna after 1580, when the Counter-Reformation began to take effect in Olmetz. In Vienna he became the assistant of Lucas van Valckenborch I, whom he subsequently followed to Frankfurt, then an important centre for art dealing and publishing. He filled in staffage in van Valckenborch pictures of the seasons and portraits, inserting fruit, table utensils and flowers as still-life set pieces. His faithful reproduction of flowers and fruit drew on watercolours by Derer, still-life painters from the Netherlands living in Frankfurt, and botanical and zoological illustrations by Joris Hoefnagel, Pieter van der Borcht IV and Carolus Clusius (1525-1609) then being published in Frankfurt.
Carel de Moor
(February 25, 1655 - February 16, 1738) was a Dutch Golden Age etcher and painter. He was a pupil of Gerard Dou. Carel de Moor was born in Leiden. According to Houbraken, his father was an art dealer who wanted him to study languages and only allowed him to study art when his talent for drawing surfaced at a young age. Houbraken met him in person at the atelier of Godfried Schalcken when he was completing his education there. According to the RKD he was the son of a Leiden painter of the same name and a pupil of Dou, Frans van Mieris, Godfried Schalcken, and Abraham van den Tempel. He became a member of the Leiden Guild of St. Luke in 1683, and became deacon many times over in the years 1688-1711. His own pupils later were Pieter Lyonet, Andrei Matveev, Arent Pijl, Arnout Rentinck, and Mattheus Verheyden.
William Fettes Douglas
painted Artist in 1845