Italian High Renaissance Painter, 1483-1520 Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.  Related Paintings of Raphael :. | Portrait of Domenico Annibali | The Conestabile Madonna | The Judgment of Paris | Portrait of Maria Luisa of Spain | sistine madonna |
Related Artists:
Perino Del Vaga
Italian Mannerist Painter, ca.1501-1547 Italian painter and draughtsman. He trained in Florence, first with Andrea de' Ceri and from the age of 11 with Ridolfo Ghirlandaio. According to Vasari, he practised drawing by copying Michelangelo's cartoon for the Battle of Cascina (destr.). For Pope Leo X's entry into Florence in November 1515 he painted an allegorical figure on one of the twelve triumphal arches. Soon after, an obscure Florentine painter called Vaga took Perino to Rome, where he became known as del Vaga. There he continued his drawing studies, copying from works of antiquity and Michelangelo's ceiling in the Sistine Chapel. On the recommendation of Giulio Romano and Giovanni Francesco Penni, he joined Raphael's workshop, where he learnt stuccowork and how to design grotesques, through assisting Giovanni da Udine in the Vatican Logge. Soon he was painting scenes from Raphael's designs, and five or six ceiling frescoes in the Logge, including the Story of Joshua and the Story of David, are generally accepted as his.
Julius von Blaas
1845-1923,was an Italian painter, the second son of Karl, born at Albano, Italy. He studied under his father, devoted himself principally to equestrian subjects, and went to Rome where he painted genre scenes from the Campagna. His "Race of Intoxicated Slavonic Peasants" (1869) is in the Imperial Museum of Vienna, as is "Antlassritt" (1899). Julius von Blaas was much employed by the Austrian court as a portrait painter and became professor in the Academy of Vienna.
William Hamilton
English Painter, 1751-1801, was an English painter and illustrator. Hamiliton was born in Chelsea, London, but travelled and worked in Italy with Antonio Zucchi for several years. He trained first as an architectural draftsman, but soon moved to theatrical portraits and scenes from plays. Hamilton became very well known for his paintings depicting episodes from the plays of Shakespeare and for his illustrations of poems. He was commissioned to create works for John Boydell's Shakespeare Gallery, Macklin's Bible and Bowyer's English History. These were widely reproduced in popular prints. Francesco Bartolozzi engraved a number of Hamilton??s best known works. He also painted modern events, such as the execution of Marie Antoinette, in the manner of epic historical drama. Hamilton's style shows the influence of the cult of sentiment typical of the period, resembling the work of Angelica Kauffmann. He also sometimes adopts aspects of Fuseli's dramatic distortions in composition and figure drawing. He became an associate member of the Royal Academy from 1784, and was made a full member in 1789.