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.

São Jorge e o Dragão (Saint Georges Luttant Avec le Dragon / St. George Struggling With the Dragon) - Rafael Sanzio

São Jorge e o Dragão (Saint Georges Luttant Avec le Dragon / St. George Struggling With the Dragon) - Rafael Sanzio
Museu do Louvre, Paris, França
Óleo sobre madeira - 29x25 - 1503-1505

St. George or St. George and the Dragon is a small painting by the Italian Renaissance artist Raphael. It is housed in the Louvre in Paris. A later version of the same subject is the St. George in the National Gallery of Art in Washington, D.C.

This painting and the equally small Saint Michael, also in the Louvre, are a pair. In the Mazarin Collection they were joined together, forming a diptych, and bound in leather. Louis XIV acquired them from Mazarin's heirs in 1661.

Saint George has sometimes been ascribed to the artist's Roman period, because the horse resembles one of the horses of Monte Cavallo (the Quirinal Palace). However, Raphael could easily have known this particular horse from a drawing of it, done by one of Leonardo's pupils. To judge by the still somewhat naïve and Peruginesque style of the painting, it is really one of Raphael's early works, dating from about 1504. He did another painting of the same subject a little later (the mentioned panel in Washington D. C.), and towards the end of his life he painted a large Sant Michael which is also in the Louvre.

Giovanni Lomazzo, in his Trattato della Pittura (1584), mentions a Saint George by Raphael, commissioned by the Duke of Urbino, which was painted on a little chess-board (tavoliere). According to the old catalogues the small Saint Michael, if not the saint George as well, had a draught-board on the back which is now covered over. Examination by means of X-rays and infrared has not confirmed this statement. In the abovementioned book, Lomazzo seems to have confused various pictures of the same subject. If one can rely to some extent on his late and somewhat muddled testimony, it is possible that the two paintings in the Louvre were painted for the Duke of Urbino.

Appointed to the order of the Garter in 1504 by Henry VII of England, Guido da Montefeltro, Duke of Urbino, commissioned Raphael to paint a picture of Saint George as a gift for the King, and appointed Baldassare Castiglione, author of The Courtier, to bear it to England. Until recently, the composition of the same subject in the National Gallery of Art, Washington was identified as the painting sent to England. However, it is debated now which of the two paintings was really sent to England.

Saint George is one of the most popular of Christian saints and is the patron saint of England. He was also a favourite subject of Renaissance artists, who depicted him slaying the dragon. According to legend, this monster infested a marsh outside the walls of a city and, with his fiery breath, could poison all who came near. In order to placate the dragon, the city furnished him with a few sheep every day. But when the supply of sheep was exhausted, the sons and daughters of the citizens became the victims. The lot fell one day on the princess, and the King reluctantly sent her forth to the dragon. Saint George happened to be riding by and, seeing the maiden in tears, commended himself to God and transfixed the dragon with his spear.

St George's lance has been broken in the struggle, but the proud knight is about to vanquish the dragon with the sword, and so free the princess, who is fleeing on the right. By the middle of the 16th century this panel formed a pair with Raphael's St. Michael. Even though the latter was painted somewhat earlier, the fact that they are the same size and have a comparable iconography implies that Raphael intended that the saints should belong together.

Autorretrato (Autoritratto / Self-Portrait) - Rafael Sanzio

Autorretrato (Autoritratto / Self-Portrait) - Rafael Sanzio

Galleria degli Uffizi, Florença, Itália

Óleo sobre painel - 47x33 - 1504-1506