Cataratas do Iguaçu, Foz do Iguaçu, Brasil e Puerto Iguazú, Argentina

Cataratas do Iguaçu, Foz do Iguaçu, Brasil e Puerto Iguazú, Argentina
Foz do Iguaçu - PR / Puerto Iguazú - Argentina
Fotografia

Construção do Edifício Copan, São Paulo, Brasil

Construção do Edifício Copan, São Paulo, Brasil
São Paulo - SP
Fotografia

Audi Q3, Alemanha

Audi Q3, Alemanha
Propaganda

Grande Canal, Veneza, Itália

Grande Canal, Veneza, Itália
Veneza - Itália
Fotografia

Dama com Unicórnio (Dama Con Liocorno / Ritratto di Dama Con Liocorno / Portrait de Madalena Strozzi / Portrait of Young Woman With Unicorn / Lady With Unicorn) - Rafael Sanzio

Dama com Unicórnio (Dama Con Liocorno / Ritratto di Dama Con Liocorno / Portrait de Madalena Strozzi / Portrait of Young Woman With Unicorn / Lady With Unicorn) - Rafael Sanzio
Galleria Borghese, Roma, Itália
Óleo sobre painel transferido para tela - 67x56 - 1505-1506

The painting earlier was attributed to Perugino, Ridolfo Ghirlandaio, Granacci. At the time (in 1928) of the identification of the artist as Raphael, the painting had been heavily painted over to represent a St Catherine. After careful cleaning, the perfect geometry and detachment of this courtly figure were revealed, although her identity is not known. Present day critics attribute the work to Raphael, referring it to 1505 and to the Florentine environment. It can, in fact, be inserted among the portraits of that period, for it represents an apex in the artist's stylistic development. The fullness of the well constructed figure is set apart from a vast landscape background, inspired by Leonardo but executed with the clarity typical of Raphael. Piero della Francesca and Perugino influences have also been noted in the style of the painting.

La giovane effigiata è una fanciulla fiorentina, come si evince dal prezioso abito alla moda dei primi anni del Cinquecento - la gamurra - con le ampie maniche di velluto rosso e il corpetto di seta marezzata.

Il dipinto, del quale non si hanno notizie documentarie certe, fu commissionato, con molta probabilità, come dono di nozze. Lo suggeriscono alcuni dettagli decorativi, in particolare le pietre del pendente (rubino e zaffiro), riferimenti simbolici allusivi alle virtù coniugali e al candore virginale della sposa: ne è un esempio la perla scaramazza, simbolo dell'amore spirituale e della femminilità creatrice, già dall'età antica. La stessa collana d'oro, caratterizzzata dal nodo, è un chiaro riferimento al vincolo matrimoniale.
Allo stesso modo è stata interpretata la presenza del piccolo unicorno che le giace sul grembo, animale fantastico tratto dalla letteratura medievale, attributo di verginità.
L'esecuzione del dipinto dovrebbe risalire agli anni del soggiorno fiorentino, precedenti il trasferimento di Raffaello a Roma.

Vauxhall Cresta 1956, Inglaterra

Vauxhall Cresta 1956, Inglaterra
Produzido entre 1954-1972
Propaganda

Cristo Abençoador (Christ Blessing / Pax Vobiscum) - Rafael Sanzio

Cristo Abençoador (Christ Blessing / Pax Vobiscum) - Rafael Sanzio
Pinacoteca Tosio Martinengo, Bréscia, Itália
Óleo sobre painel - 31x25 - 1505-1506

Leonardo's influence is particularly strong in the Blessing Christ in Brescia. Here Christ is shown emerging from the tomb. He is no longer an object of compassion, as in 14th and 15th century panels. Rather, he is depicted as the Resurrected Christ; he still bears the symbols of the Passion, the crown of thorns and the marks of the nails which bound his hands and feet to the Cross. Every element of the artist's experience with Perugino has by now been abandoned. The figure displays a smoothness of surface and a soft chiaroscuro modelling which clearly surpass the abilities of Raphael's master.

Audi Q3, Alemanha

Audi Q3, Alemanha
Propaganda

Audi Q3, Alemanha

Audi Q3, Alemanha
Propaganda

Retrato do Jovem Pietro Bembo (Pietro Bembo / Portrait of Pietro Bembo) - Rafael Sanzio

Retrato do Jovem Pietro Bembo (Pietro Bembo / Portrait of Pietro Bembo) - Rafael Sanzio
Museu de Belas Artes, Budapeste, Hungria
Óleo sobre painel - 69x54 - 1504



In earlier catalogs the painting was attributed to Bernardo Luini as a portrait of Raphael. Later it was recognised as the portrait of Pietro Bembo, the poet and humanist painted by Raphael when staying at the Court of Urbino. Bembo was later to become cardinal.
The portrait of Pietro Bembo, one of Raphael's earliest portraits, represents his art at the very beginning of the sixteenth century, the period of transition between his early work in the Umbrian style and that of his Florentine period. The youth in red gown and cap is seen against a landscape background depicting the gentle, hilly countryside of Umbria. The hair, hanging in long locks as was the fashion at that time, frames a gentle face; both hands rest on the parapet and in his right hand is a folded sheet of paper. Because of its general resemblance to the early self-portrait in Florence, this picture was for some time thought to be another self-portrait, while some scholars believed it to be the portrait of a young cardinal. Recent research has, however, identified it as the picture once seen by the Venetian Marcantonio Michiel in the studiolo of Pietro Bembo in Padua, representing Bembo in his youth. It was painted by the young Raphael when he met Bembo at the court of Urbino in 1506.