All RAFFAELLO Sanzio 's Paintings
The Painting Names Are Sorted From A to Z

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Choice ID Image  Paintings (From A to Z)       Details 
70241 Madonna della Tenda  Madonna della Tenda   Medium Oil on wood Dimensions 65,8 X 51,2 cm
86964 Madonna of Belvedere  Madonna of Belvedere   1506(1506) Medium Oil on wood cyf
8741 Madonna of Loreto (Madonna del Velo) at  Madonna of Loreto (Madonna del Velo) at   1509-10 Oil on wood, 120 x 90 cm Mus??e Cond??, Chantilly
89446 Madonna Solly  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  Madonna Terranuova, Szene: Maria mit Christuskind und zwei Heiligen, Tondo   1504-1505 Medium Oil on wood cjr
8738 Madonna with Beardless St Joseph sy  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  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  Madonna with the Blue Diadem   between 1510(1510) and 1511(1511) Medium Oil on wood cyf
8723 Madonna with the Book (Connestabile Madonna) dy  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  Madonna with the Fish   1512-14 Oil on canvas
86662 Madonna with the Fish  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  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  Maria mit Christuskind und zwei Heiligen, Tondo   Date 1504-1505 Medium Oil on wood cjr
55659 Meditation  Meditation   mk243 1508 120x105cm
55697 Miraculous Fisherman  Miraculous Fisherman   mk243 1515 360x400cm
55698 Miraculous Fisherman  Miraculous Fisherman   mk243 1515 360x400cm temper
52285 Moses Saved from the Water  Moses Saved from the Water   1518-19 Fresco Loggia on the second floor
55680 Mountain  Mountain   mk243 1510-1511
55643 Mrs Yili  Mrs Yili   mk243 1504-1505 58x36cm
55710 Naked girl  Naked girl   mk243 256x163cm
55660 Original sin  Original sin   mk243 1508 120x105cm
55664 Philosophy  Philosophy   mk243 1508
63794 Philosophy  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  Poetics   mk243 1508
63795 Poetry  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  Portrai ot Fidela   mk243 1515-1516 90x62cm Oil on canvas
77755 Portrait de Jeanne d Aragon  Portrait de Jeanne d Aragon   Oil Dimensions 95 ?? 120 cm (37.4 ?? 47.2 in) cyf
8744 Portrait of a Cardinal  Portrait of a Cardinal   1510-11 Oil on wood, 79 x 61 cm Museo del Prado, Madrid
82591 Portrait of a Man  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  Portrait of a Man aet   c. 1502 Oil on wood, 45 x 31 cm Galleria Borghese, Rome
63818 Portrait of a Woman  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  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  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.  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  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  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  Portrait of Agnolo Doni   1506 Oil on wood, 63 x 45 cm Galleria Palatina (Palazzo Pitti), Florence
89851 Portrait of Agnolo Doni  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  Portrait of Badashalei   mk243 1514-1515 82x67cm Oil on canvas
55683 Portrait of cardinal  Portrait of cardinal   mk243 1510-1511 Oil on board 79x61cm
90614 Portrait of Dona Isabel de Requesens  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  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  Portrait of Duni   mk243 63x45cm 1506 Oil on board
63782 Portrait of Jeanne d'Aragon  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  Portrait of Jeanne d-Aragon   1518 Oil on wood
88334 Portrait of Julius II  Portrait of Julius II   between 1511(1511) and 1512(1512) Medium Oil on wood cyf
55652 Portrait of Madali  Portrait of Madali   mk243 1506 63x45cm Oil on board
8734 Portrait of Maddalena Doni ft  Portrait of Maddalena Doni ft   1506 Oil on panel, 63 x 45 cm Galleria Palatina (Palazzo Pitti), Florence
8715 Portrait of Pietro Bembo  Portrait of Pietro Bembo   c. 1504 Oil on wood, 54 x 69 cm Museum of Fine Arts, Budapest
87900 Portrait of Pietro Bembo  Portrait of Pietro Bembo   1504(1504) Medium Oil on wood cyf
88218 Portrait of Pietro Bembo  Portrait of Pietro Bembo   1504(1504) Medium Oil on wood cyf
88342 Portrait of Tommaso Inghirami  Portrait of Tommaso Inghirami   between 1510(1510) and 1514(1514) Medium Oil on wood cyf
55648 Portrait of woman  Portrait of woman   mk243 1505-1506 66x52cm Oil on canvas
55689 Portrait of Yoliersi  Portrait of Yoliersi   mk243 1512 107x80cm Oil on board
55649 Portrait of younger woman  Portrait of younger woman   mk243 1505-1506 65x51cm Oil on canvas
82205 Portrat des Fedra Inghirami  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  Portrat des Papstes Leo X   1518-1519 Medium Deutsch: Öl auf Holz cyf
85950 Portrat einer jungen Frau  Portrat einer jungen Frau   between 1518(1518) and 1519(1519) Medium Oil on wood cyf
63801 Prime Mover  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  Psyche Offering Venus the Water of Styx   1517 Red chalk, 263 x 197 mm
55691 Psychic and angel  Psychic and angel   mk243 1514-1515
78687 Raffael  Raffael   1518-1519 Medium Deutsch: Öl auf Holz cyf
67495 Raffaello Angelo 1  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  Retrato de Pietro Bembo   Date ca. 1504(1504) Medium Oil on panel Dimensions 54 x 39 cm cjr
87741 Retrato de Pietro Bembo  Retrato de Pietro Bembo   1504(1504) Medium Oil on panel Dimensions 54 x 39 cm cyf
87571 ritratto virile della galleria borghese  ritratto virile della galleria borghese   Oil on canvas cyf
58340 Roveredo portrait  Roveredo portrait   mk261 Florence about 1504 oil painting of wood 47.3 x 35.3 cm
84111 Sao Joao Batista  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  Self-Portrait   mk243 1506 45x33cm
8731 Self-Portrait er78  Self-Portrait er78   1506 Oil on wood, 45 x 33 cm Galleria degli Uffizi, Florence
55707 Shemikaier and devil  Shemikaier and devil   mk243 1518 268x160cm
55637 Shesibasi  Shesibasi   mk243 1501-1502 43x34cm Oil on board
82580 Solly Madonna  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  Spozalizio   1504(1504) Medium Oil on roundheaded panel cyf
89133 Spozalizio  Spozalizio   1504(1504) Medium Oil on roundheaded panel cyf
8718 Spozalizio (detail) at  Spozalizio (detail) at   1504 Oil on roundheaded panel Pinacoteca di Brera, Milan
8717 Spozalizio (detail) jkfg  Spozalizio (detail) jkfg   1504 Oil on roundheaded panel Pinacoteca di Brera, Milan
8716 Spozalizio (The Engagement of Virgin Mary) af  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  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  St Catherine of Alexandria   1508(1508) Medium Oil on wood cyf
63785 St Cecilia  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  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  St George and the Dragon   1505-06 Oil on wood, 28.5 x 21.5 cm
8725 St George and the Dragon st  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  St George Fighting the Dragon   between 1503(1503) and 1505(1505) Medium Oil on wood cyf
51263 St John the Baptist  St John the Baptist   c. 1518 Oil on canvas, 165 x 147 cm
88330 St Michael and the Dragon  St Michael and the Dragon   between 1503(1503) and 1505(1505) Medium Oil on wood cyf
8726 St Michael and the Dragon sdr  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  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  St Paul Preaching in Athens   Tempera on paper, mounted on canvas, 390 x 440 cm
8705 St Sebastian  St Sebastian   1501-02 Oil on wood, 43 x 34 cm Accademia Carrara, Bergamo
84559 St Sebastian  St Sebastian   Date between 1501(1501) and 1502(1502) Medium Oil on wood cjr
88409 St Sebastian  St Sebastian   between 1501(1501) and 1502(1502) Medium Oil on wood cyf
55705 Story  Story   mk243 1518-1519
51296 Study for the Disputa  Study for the Disputa   1509 Brush and white highlighting over stylus underdrawing, 280 x 285 mm
55713 Study of bury  Study of bury   mk243 1507 182x205cm
55719 Study of Mary  Study of Mary   mk243
63815 The Adoration of the Magi  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  The Adoration of the Magi (Oddi altar) set   1502-03 Oil on canvas, 27 x 150 cm Pinacoteca, Vatican
8747 The Alba Madonna  The Alba Madonna   1511 Oil on canvas, diameter 98 cm National Gallery of Art, Washington
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RAFFAELLO Sanzio
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,

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