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Artist: RAFFAELLO Sanzio
Madonna dell'Impannata
ID::. 63781
Size: 20x24 INS

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Madonna dellstretcherstretchedFrame ID: Ta026Frame ID: Ta087Frame ID: TA198Frame ID: Ta3070-1Frame ID: ta3071-1Frame ID: ta3078-1Frame ID: ta3081-1Frame ID: Ta3123-3Frame ID: Ta3139-1Frame ID: Ta3142-1Frame ID: Ta001Frame ID: Ta001-2Frame ID: Ta002Frame ID: ta003Frame ID: Ta012Frame ID: Ta016Frame ID: Ta017Frame ID: Ta020Frame ID: Ta021Frame ID: Ta021sFrame ID: Ta034Frame ID: Ta035Frame ID: Ta039Frame ID: Ta043Frame ID: Ta050Frame ID: Ta051Frame ID: Ta068Frame ID: Ta082Frame ID: Ta086Frame ID: ta096Frame ID: Ta112Frame ID: Ta125-4Frame ID: Ta144Frame ID: Ta149-2Frame ID: Ta159Frame ID: TA213Frame ID: ta214Frame ID: ta220


   RAFFAELLO Sanzio Madonna dell'Impannata   

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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,
ID: 63781 Madonna dell'Impannata 1513-14 Oil on wood, 158 x 125 cm Galleria Palatina (Palazzo Pitti), Florence In the mid-1510s Raphael had passed from the highly synthetic and expressive compositions of the first years of the decade to representations which were more and more complex and even more dispersive. Most of these were also finished by his pupils, for this was the busiest moment in Raphael's career. The Madonna dell'Impannata in the Pitti Gallery in Florence was also painted with the help of assistants. According to some critics, the assistants executed the entire painting. But others see the master's hand at least in the major figures (some say in the Christ Child, some in St Elizabeth, some in both figures). The composition is innovative in respect to the usual iconography of the holy family. It shows St Catherine, St Elizabeth, Christ, the Virgin and St John gathered together in a group. A large tent is visible in the background and a window covered by linen (the impannata, or cloth covering of a window, which gives the painting its name) can be seen at the extreme right. Like many other works by Raphael, this painting was carried off by the French in 1799 and was not returned until after the Congress of Vienna, in 1815.Artist:RAFFAELLO Sanzio Title: Madonna dell'Impannata Painted in 1501-1550 , Italian - - painting : religious









 

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