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 :. | Christ Bury | Wearing veil woman | The Entombment (detail) st | Retrato de Pietro Bembo | Portrait of Pietro Bembo |
Related Artists:
Braquaval Louis
Esquermes 1854-Saimnt-Valery-sur-Somme 1919
Wall, William Guy
American, 1792-1862
Largillierre
Paris 1656-1746 French painter. Following his early training in Antwerp and London, he established himself in Paris, becoming one of the most successful portrait painters of the second half of Louis XIV's reign. Although Largillierre was patronized by the Court, most of his sitters came from the wealthy middle classes; by the end of his career he had produced (by conservative estimates) some 1500 portraits. In 1734-5 and again in 1738-42 he was Directeur of the Academie Royale de Peinture et de Sculpture.