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 :. | Tea in the Orchard | school of athens | Portrait of the Artist with a Friend | Portrait of Pope Julius II, | galatea |
Related Artists:Aleksander Uurits
(May 12, 1888 - August 10, 1918) was an Estonian painter and graphic artist.
Orzinuovi ca 1450-Vicenza 1523
.Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works,POURBUS, Frans the Elder
Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).
was a Flemish Renaissance painter. He was known primarily for his religious and portrait painting and worked mainly in Antwerp. His father was painter Pieter Pourbus and his son was painter Frans Pourbus the younger.