Raphael Oil Paintings

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Raphael Oil Paintings Raphael [Italy, 1483 - 1520] Oil Painting No info Oil Painting ID: 26521 | Order the painting Angel, fragment of the Baronci Altarpiece Raphael (Raffaello Sanzio da Urbino, better known simply as Raphael) Oil Painting ID: 26522 | Order the painting Woman with a Veil, La Donna Velata Raphael (Raffaello Sanzio da Urbino, better known simply as Raphael) Oil Painting ID: 26523 | Order the painting Portrait of Baldassare Castiglione Raphael (Raffaello Sanzio da Urbino, better known simply as Raphael) Oil Painting ID: 26524 | Order the painting St Michael and the Satan Raphael (Raffaello Sanzio da Urbino, better known simply as Raphael) Oil Painting ID: 26525 | Order the painting 1/3 Crucifixion, Citta di Castello Altarpiece Raphael (Raffaello Sanzio da Urbino, better known simply as Raphael) Oil Painting ID: 26526 | Order the painting Angel, fragment of the Baronci Altarpiece Raphael (Raffaello Sanzio da Urbino, better known simply as Raphael) Oil Painting ID: 26527 | Order the painting Madonna del Baldacchino Raphael (Raffaello Sanzio da Urbino, better known simply as Raphael) Oil Painting ID: 26528 | Order the painting The Sistine Madonna The Sistine Madonna (detail) Oil Painting ID: 26529 | Order the painting Portrait No info Oil Painting ID: 26530 | Order the painting Total 12 pages, 5/12 | Page : 3 4 [5] 6 7 Raphael (Nationality : Italy, 1483 - 1520) Raphael was an Italian Renaissance painter who is considered one of the greatest and most popular artists of all time. He was born Raffaello Santi or Raffaello Sanzio in Urbino on April 6, 1483, and received his early training in art from his father, the painter Giovanni Santi. According to many art historians, he also studied with Timoteo Viti at Urbino, executing under his influence a number of works of miniaturelike delicacy and poetic atmosphere, including Apollo and Marsyas (Louvre, Paris) and The Knight's Dream (1501?, National Gallery, London). In 1499 he went to Perugia, in Umbria, and became a student and assistant of the painter Perugino. Raphael imitated his master closely; their paintings of this period are executed in styles so similar that art historians have found it difficult to determine which were painted by Raphael. Among Raphael's independent works executed at Perugia are two large-scale paintings, the celebrated Sposalizio, or Marriage of the Virgin (1504, Brera Gallery, Milan), and 2/3 The Crucified Christ with the Virgin Mary, Saints and Angels (1503?, National Gallery, London). • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-225-5.html 3/3.

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Raphael Oil Paintings
Raphael Oil Paintings Raphael [Italy, 1483 - 1520] The Baptism of Constantine Raffaello Sanzio da Urbino, better known simply as Raphael 47318-Raphael-The Baptism of Constantine.jpg Oil Painting ID: 47318 | Order the painting The Battle at Pons Milvius, detail Raffaello Sanzio da Urbino, better known simply as Raphael 47319-Raphael-The Battle at Pons Milvius, detail.jpg Oil Painting ID: 47319 | Order the painting The Battle of Ostia Raffaello Sanzio da Urbino, better known simply as Raphael 47320-Raphael-The Battle of Ostia.jpg Oil Painting ID: 47320 | Order the painting The Cardinal Virtues Raffaello Sanzio da Urbino, better known simply as Raphael 47321-Raphael-The Cardinal Virtues.jpg Oil Painting ID: 47321 | Order the painting The Death of Ananias Raffaello Sanzio da Urbino, better known simply as Raphael 47322-Raphael-The Death of Ananias.jpg Oil Painting ID: 47322 | Order the painting The Expulsion of Heliodorus from the Temple Raffaello Sanzio da Urbino, better known simply as Raphael 47323-Raphael-The Expulsion of Heliodorus from the Temple.jpg Oil Painting ID: 47323 | Order the painting The Handing-over the Keys Raffaello Sanzio da Urbino, better known simply as Raphael 47324-Raphael-The Handing-over the Keys.jpg Oil Painting ID: 47324 | Order the painting 1/2 The Judgment of Solomon Raffaello Sanzio da Urbino, better known simply as Raphael 47325-Raphael-The Judgment of Solomon.jpg Oil Painting ID: 47325 | Order the painting The Liberation of St Peter Raffaello Sanzio da Urbino, better known simply as Raphael 47326-Raphael-The Liberation of St Peter.jpg Oil Painting ID: 47326 | Order the painting The Mass at Bolsena Raffaello Sanzio da Urbino, better known simply as Raphael 47327-Raphael-The Mass at Bolsena.jpg Oil Painting ID: 47327 | Order the painting Total 12 pages, 11/12 | Page : 8 9 10 [11] 12 Raphael (Nationality : Italy, 1483 - 1520) Raphael was an Italian Renaissance painter who is considered one of the greatest and most popular artists of all time.
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Vasari: a Translation from Die Kunstliteratur (1924)
Julius von Schlosser on Vasari: a translation from Die Kunstliteratur (1924) Karl Johns - Julius Schlosser and the location of Vasari When Thomas Mann was composing Doktor Faustus and decided to have the devil make an appearance at the precise center of the manuscript, he was applying his literary irony to a phenomenon in which he had himself participated, which affected his life directly, and threatened those of his wife and children.1 When Julius Schlosser made Giorgio Vasari the isolated subject of Book Five of his Kunstliteratur, he was also describing a certain development in idiosyncratic literary terms and placing a figure at the center who could not ultimately be applauded according to the terms of his ‘Kunstliteratur’. Unlike the world of Adrian Leverkühn, Schlosser, who was felicitously described in a 1939 obituary as ‘an anachronism in the very best sense of the term’, had developed his concept of the literature of art ‘Kunstliteratur’ independently of the trends of the time. Indeed, his most ambitious essays had included a systematic refutation of the flawed premises of various types of scholarly writings about earlier art then flourishing. Formalism and undue abstraction were then exciting popular interest and drawing unusual numbers of auditors into academic lecture halls. The burgeoning literature of dissertations was being roundly criticized. In this period of emotional nationalism and rising fascism, his development of the concept of ‘Kunstliteratur’ served to stress the importance of objectivity in historical scholarship independently of anything one might feel. To create such a footing it would be necessary in his ‘classic’ book to clarify the entire emergence of the academic discipline of the history of art.
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“Raffaello Nella Cultura Europea” in Occasione Della Mostra “Raffaello E Urbino” 4 Aprile – 12 Luglio 2009 Urbino, Palazzo Ducale – Galleria Nazionale Delle Marche
Periodico d’informazione su politiche, programmi e legislazione dell’Unione europea A cura del Centro Europe Direct Marche Carrefour europeo – Università degli Studi di Urbino “Carlo Bo” DIRETTORE RESPONSABILE Maria Carbone - DIRETTORE EDITORIALE Marcello Pierini Urbino, 8 maggio 2009 n. 84 S p e c i a l e “Raffaello nella cultura europea” In occasione della mostra “Raffaello e Urbino” 4 aprile – 12 luglio 2009 Urbino, Palazzo Ducale – Galleria Nazionale delle Marche Dagli atti del Convegno: “Raffaello nella Cultura europea”- Urbino, 27, 28, 29 luglio 1983 R a f f a e l l o n e l l a c u l t u r a Prolusione del Rettore Magnifico e u r o p e a dell’Università degli Studi di Urbino Prof. Carlo Bo La grande mostra su Raffaello e Urbino ci offre «Mi rendo conto che è tanto desueto parlare di l’occasione di pubblicare un estratto degli atti del bellezza a proposito dell'arte, quanto parlare di Convegno Internazionale: “Raffaello nella verità a proposito di filosofia», queste parole di Cultura Europea” organizzato dall’Associazione Maritain mi tornano alla memoria pensando a europea degli insegnanti - A.E.D.E., in occasione Raffaello e più precisamente al rapporto fra del cinquecentesimo anniversario della nascita del bellezza e verità che mi ha sempre grande urbinate. Tali lavori, riletti a distanza di oltre suggestionato quando si trattava di riassumere 25 anni, ci appaiono più che mai attuali e vivificati in una frase le impressioni nuove e antiche dalla grande mostra di questo 2009. suscitate dal pittore urbinate. Ma l'affermazione Tra gli interventi del convegno abbiamo scelto di maritainiana esige un codicillo: (segue a pag.
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Raphael Santi London
RAPHAEL SANTI LONDON PRINTED BY SPOTTISWOODE AND CO. NEW-STEEET SQUARE RAPHAEL SANTI His Life and His Works BY ALFRED BARON VON WOLZOGEN TRANSLATED BY F. E. BUNNETT TRANSLATOR OF GRIMM'S ' LIFE OF MICHAEL ANGELO' AND GERVINUS'S 'SHAKESPEARE COMMENTARIES LONDON SMITH, ELDER, & CO., 65 CORNHILL 1866 759.5 R12wEb TRANSLATOR'S PREFACE. HAVING translated Grimm's 'Life of Michael Angelo,' I was desirous of finding some memoir of his great contemporary Eaphael, which might complete the picture we already possess of a period so rich in the history of Art. It was not easy to meet with a work which was not too diffuse in its art-criticisms for the ordinary reader, and until Wolzogen's 'Life of Eaphael' appeared, there was no concise biography of the great painter which seemed to me to supply the information required. It is for this reason that I have translated the work; and I trust it will not be without interest to those who have hitherto known Eaphael in his art alone. F. E. BUNNETT. PREFACE. EAPHAEL-LITERATURE already fills a library of its own. Extensive works, such as Passavant's ' Eafael von Urbino und sein Vater Giovanni Santi' (three volumes, with maps, Leipsic, 1839-58), are among its treasures; but there is ever lacking a concise summary of all the more important investigations and decisions hitherto arrived at with regard to the great master's life and works. The best and most spirited of these are for the most part, moreover, in various papers and pamphlets, in which Eaphael is not the sole subject.
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A Study of Winifred Knights, 1915-1933
A Study of Winifred Knights, 1915-1933 Rosanna Eckersley Department of Art History and World Art Studies University of East Anglia A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy November 2015 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any formation derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Winifred Knights, 1899-1947, was a student at the Slade School of Art from 1915, where she developed a decorative manner of rhythmic, repetitive forms, one form of cautious modernism. In 1920 she was the first woman to win the Rome Prize in Decorative Painting. The award was for three years at the British School at Rome. Knights often chose to base her paintings on biblical subjects, or the lives of saints. She was not religious and I argue that these stories, which were well-known in Britain at the time, were vehicles to represent the lives of women and families in the unsettled years during and after WWI. Many women artists have depicted domestic scenes, but Knights chose the exterior and multi-figure compositions, including many self-portraits. She used these compositions to explore women‟s vulnerability, rebellion against male control, maternity and the self-sufficiency of a women‟s community. Personal material is present in all her work and much of it deals with the traumas she suffered.
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Truth Athens in Rome
Christian World View Truth Athens in Rome Page 1 of 13 The Parnassus [ the dwelling place of the gods ] Arts ∙ “beauty” north w e The Disputation of the Sacrament e a The School of Athens [ the Eucharist ] s s [ truth by human reason ] Theology ∙ “supernatural truth” t t Philosophy ∙ “natural truth” south The Cardinal Virtues and the Law [ fortitude ∙ prudence ∙ temperance ] Justice ∙ “good” Page 2 of 13 Vatican Museums “The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic program of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls.
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L-G-0000349765-0002315494.Pdf
Raphael Text: Eugene Müntz Layout: Baseline Co. Ltd, 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Sirrocco, London, UK © Confidential Concepts, worldwide, USA All rights reserved. No part of this book may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-223-7 2 “Here lies Raphael, who while he lived made Nature afraid of being bested by him and, when he died, of dying with him.” — Pietro Bembo (Epitaph carved on Raphael's tomb in the Pantheon) 3 Biography 1483 Raffaello Santi or Sanzio, known as Raphael, is born in Urbino, probably on the 6th of April. He is the son of Giovanni Santi, a painter and official poet at the court of the great patron of the arts Federico da Montefeltro. 1491 Death of Raphael’s mother. He is deeply affected by the event. 1494 His father also dies. He is taken in by his uncle, a priest. 1495 The young artist arrives in Perugia and supposedly becomes one of the disciples of Pietro Vannucci, known as Perugino. 1501 The artist finishes the first work known to be his, the altar of the church of San Nicola da Tolentino, at Castello, in Umbria. 1504-1508 He spends several years in Florence, which is later known as his Florentine period.
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History –97 289 289 Consultant, 3 YX Zhang YX [email protected] Zhangyixin6688@Hotmail
J R Coll Physicians Edinb 2015; 45: 289–97 Paper http://dx.doi.org/10.4997/JRCPE.2015.409 © 2015 Royal College of Physicians of Edinburgh Foot deformities in Renaissance paintings. A mystery of symbolism, artistic licence, illusion and true representation in five renowned Renaissance painters 1D Lazzeri, 2MF Castello, 3L Grassetti, 4T Dashti, 5YX Zhang, 6P Persichetti 1Consultant, 2Consultant, 4Visiting Consultant, Plastic Reconstructive and Aesthetic Surgery, Villa Salaria Clinic, Rome, Italy; 3Consultant, 6Professor, Department of Plastic and Reconstructive Surgery, Marche Polytechnic University Medical School, University Hospital of Ancona, Italy; 5Professor, Chief of the Division of Reconstructive Microsurgery, Assistant Chief of the Department of Plastic and Reconstructive Surgery, Ninth People’s Hospital, Shanghai Jiao Tong University School of Medicine, Shanghai, China; 6Professor and Chief of the Plastic and Reconstructive Surgery Unit, Campus Bio-Medico University, Rome, Italy ABSTRACT Although Renaissance artists were skilled in representing normal Correspondence to YX Zhang anatomy, a close look at some paintings reveals anatomical variations in the Department of Plastic and depiction of the feet of human figures. A systematic review has identified 25 Reconstructive Surgery paintings by five artists in which the presumptive medico-artistic diagnosis of Shanghai Ninth People’s Hospital congenital or acquired foot deformity seems to be varyingly present. The Shanghai JiaoTong University School of Medicine connection between these five painters and what factors have influenced artists’ China style in the depiction of such deformities is discussed. The possible iconography and medical–historical meaning of such variations, as well as the possibility of e-mail zhangyixin6688@hotmail. artistic licence and real representation that drove the painters to depict these com deformities, is explored and debated.
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• a Comprehensive List of Proposed Identifications Is Given Below:[13] • • the Parenthetical Names Are the Contemporary Ch
76 – School of Athens Raphael. 1509-11 C. E. Fresco Video at Khan Academy Raphael's masterpiece and the perfect embodiment of the classical spirit of the Renaissance one of a group of four main frescoes: (ancient Greek) PHILOSOPHY, THEOLOGY, LITERATURE located in the “Stanza” – part of the Apostolic Palace at the Vatican (sometimes referred to as the “Papal Apartments”) nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is difficult, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting interpretations vary a comprehensive list of proposed identifications is given below:[13] The parenthetical names are the contemporary characters from whom Raphael is thought to have drawn his likenesses. 1: Zeno of Citium 2: Epicurus Possibly, the image of two philosophers, who were typically shown in pairs during the Renaissance: Heraclitus, the "weeping" philosopher, and Democritus, the "laughing" philosopher. 3: unknown (believed to be Raphael)[14] 4: Boethius or Anaximander or Empedocles? 5: Averroes 6: Pythagoras 7: Alcibiades or Alexander the Great? 8: Antisthenes or Xenophon or Timon? 9: Raphael,[14][15][16] Fornarina as a personification of Love[17] or Francesco Maria della Rovere? 10: Aeschines or Xenophon? 11: Parmenides? (Leonardo da Vinci) 12: Socrates 13: Heraclitus (Michelangelo) 14: Plato (Leonardo da Vinci) 15: Aristotle (Giuliano da Sangallo) 16: Diogenes of Sinope 17: Plotinus (Donatello?) 18: Euclid or Archimedes with students (Bramante?) 19: Strabo or Zoroaster? (Baldassare Castiglione) 20: Ptolemy? R: Apelles (Raphael) 21: Protogenes (Il Sodoma, Perugino, or Timoteo Viti) architecture of the building was inspired by the work of Bramante (who also helped him with the architecture of the painting) two sculptures in the background.
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To View the Symposium Schedule
Raphael’s Collaborations A Symposium at the Worcester Art Museum September 12, 2015 9:00 Registration Session Two: Florence 9:30 Opening Remarks 11:30 Raphael's Patronage Networks during his Florentine Years Jon Seydl Sheryl Reiss Director of Curatorial Affairs and Curator of European President, Italian Art Society Art, Worcester Art Museum 12:00 "ciò che haveva dell’arte, l’aveva da me": When does learning 9:35 Introduction and collaboration cross the line? Raphael's artistic strategy in Linda Wolk-Simon Florence Director and Chief Curator, University Museums, Tom Henry Fairfield University Professor of History of Art, University of Kent Session One: Urbino and Umbria 12:30 Discussion Paul Joannides 9:50 Raphael, Son of Giovanni Santi Emeritus Professor of Art History, Trinity College, Kim Butler Wingfield University of Cambridge Associate Professor of Renaissance Art History, American University Lunch 10:20 Domenico Alfani and Timoteo Viti: Parallel Lives? Session Three: Rome Robert G. La France 2:00 Raphael, Marcantonio Raimondi, and Prints Director, David Owsley Museum of Art, Ball State Lisa Pon University Associate Professor of Art History, Southern Methodist University, 10:50 Discussion Meadows School of the Arts Luke Syson 2:30 Collaboration Reconsidered: Raphael, Gianfrancesco Penni, and the Iris and B. Gerald Cantor Chairman, Department of Question of Raphael Workshop Modelli European Sculpture and Decorative Arts, Metropolitan Robert Williams Museum of Art Professor of the History of Art, UC Santa Barbara Coffee Break 3:00 Collaboration in the Design of Raphael’s Villa Madama Yvonne Elet Assistant Professor of Art History, Vassar College 3:30 Discussion Patricia Emison Professor of Art History, University of New Hampshire Reception Join us in the museum café for light refreshments and a cash bar This symposium has been generously supported by the Robert Lehman Foundation and the Samuel H.
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Italian Art at the Utah Museum of Fine Arts (UMFA) Spans Several Centuries, from the Late 1300S to the 1900S
Ursula M. Brinkmann Pimentel ITALIAN ART AT THE UTAH MUSEUM OF FINE ARTS A GUIDE TO THE COLLECTION Contributors: Elizabeth A. Peterson Martha A. Seiner Madelyn D. Garrett 1 Copyright © Ursula M. Brinkmann Pimentel 2000 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112, USA. This publication is made possible, in part, by generous support from Friends of the Art Museum and the Salt Lake City Arts Council. Accredited by the 2 CONTENTS Page Foreword ………………………………………………………..………………………………………………..9 Acknowledgments………………………………………………………………..………………………………10 Catalogue………………………………………………………………………………………………………...11 Explanation of Cataloguing Practices ………………...…………………………………………………………12 Cat. 1 Unknown Italian, Madonna and Child with Angels……………………………………………………..14 2 Unknown Italian, possibly Tuscan, Parchment Leaf from the Proper of Saints, Feast of the Nativity of St. John the Baptist (24 June), Matins, Third Nocturn…………………..……..18 3 Unknown Italian, possibly Tuscan, Parchment Leaf from the Common of Saints, Common of Several Martyrs, Matins, Second-Third Nocturns………………………...………………..21 4 Fra Filippo di Tomaso Lippi, Madonna and Child………………………………………………………23 5 Unknown Italian, Saint Cecilia…………………………………………………………………………..27 6 School of Andrea Mantegna, Entombment with Three Birds……………………………………………31 7 Daniel Hopfer, Battle between Two Tritons, after Andrea Mantegna…………………………………...35 8 Polidoro di Bartolomeo, Crucifixion with Saints (Virgin Mary, Mary Magdalen, St. John the Apostle, St. Francis of Assisi,
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'Dio Mortale' Lives On
Commemorating Raphaelʼs Death: After 500 Years Vasariʼs ‘Dio Mortaleʼ Lives on – La Voce di New York 11/11/19, 334 PM Sections Close DONATE Arts CommentaShared: 1!"#$%& Commemorating Raphael’s Death: Afer 500 Years Vasari’s ‘Dio Mortale’ Lives on The first of many celebratory exhibitions, “Raphael And His Friends From Urbino,” will be open at the Gallerie Nazionali delle Marche till January, 2020. Italian Hours by Lucy Gordan https://www.lavocedinewyork.com/en/arts/2019/10/30/commemorating-raphaels-death-after-500-years-vasaris-dio-mortale-lives-on/ Page 1 of 18 Commemorating Raphaelʼs Death: After 500 Years Vasariʼs ‘Dio Mortaleʼ Lives on – La Voce di New York 11/11/19, 334 PM Raffaello_Madonna-Aldobrandini Oct 30 2019 One year after the commemoration of the 500th anniversary of the great Leonardo’s death, comes Raphael’s turn. From the US to Italy, to Switzerland and beyond, the world celebrates Raphael’s genius and puts the spotlight on his major and minor works. Like the many exhibitions worldwide in 2019 to commemorate the 500th anniversary of Leonardo Da Vinci’s death, 2020 will be Raphael’s turn. The “dio mortale”, as biographer Vasari nicknamed him, was born in the small but artistically significant central Italian city of Urbino, a UNESCO World Heritage Site since 1998, in the Marche region, on March 28 or April 6, 1483, and he died in Rome on April 6, 1520. https://www.lavocedinewyork.com/en/arts/2019/10/30/commemorating-raphaels-death-after-500-years-vasaris-dio-mortale-lives-on/ Page 2 of 18 Commemorating Raphaelʼs Death: After 500 Years Vasariʼs ‘Dio Mortaleʼ Lives on – La Voce di New York 11/11/19, 334 PM According to Vasari, Raphael’s career falls naturally into three phases and three styles, his early years in Umbria working with Perugino and Pinturicchio, then a period of about four years (1504-1508) absorbing the artistic traditions of Florence from Leonardo, followed by his last hectic and triumphant twelve years in Rome, working for Popes Julius II and Leo X and their close associates.
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