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 :. | Madonna and the Fish | Portrait of Charles III of Spain | The Marriage of the Virgin | Christ on the Road to Calvary | The Vision of a Knight |
Related Artists:
Philippe Rousseau
Paris 1816 - Acquigny 1887. French Painter. French Painter. French painter. He may have received his artistic training in the studios of Gros and Jean-Victor Bertin, since he credited them as his masters when he exhibited at the Salon. He began exhibiting in 1834 with a View of Normandy (untraced) and for the next six Salons he exhibited landscapes. In 1844 he began to show still-lifes. In 1845 he was awarded a third-class medal, and in 1847 his still-lifes were admired by Th?ophile Thor?, who was one of the earliest critics to recognize Rousseau's debt to Chardin. This influence became the subject for his 1867 Salon entry, Chardin and his Models (untraced, see McCoubrey, no. 15). The work is far grander and more cluttered in its conception than most still-lifes by Chardin and alludes to the master by faithfully reproducing some of his favourite objects within a traditional table-top format rather than by an analysis of his compositional devices.
Hans Heysen
Sir Hans Heysen, OBE (8 October 1877 - 2 July 1968) was a well-known German Australian artist. He was particularly recognized for his watercolours of the Australian bush. He won the Wynne Prize for landscape painting a record nine times.
PALAGI, Pelagio
1775-1860 Italian painter, architect, designer and collector. At the age of 12 he began to frequent the house in Bologna of his patron Conte Carlo Filippo Aldrovandi Marescotti (1763-1823), whose collections and library provided his early artistic education and engendered his taste for collecting. From 1795 he worked on several decorative schemes with the theatre designer and decorator Antonio Basoli (1774-1848), and it was perhaps in theatre designs that Palagi was first exposed to an eclectic range of motifs from exotic cultures. He was influenced by the linear, mannered style of Felice Giani, with whom he frequented the important evening drawing sessions at the house of the engraver Francesco Rosaspina (1762-1841). Beginning in 1802, he participated in the informal Accademia della Pace, Bologna, as well as studying at the Accademia Clementina, and was elected to the Accademia Nazionale di Belle Arti of Bologna in 1803. Soon his draughtsmanship took on a bizarre, brooding style akin to that of Piranesi and such early Romantics as Luigi Sabatelli and Henry Fuseli. During this period he began designing funerary monuments, a type of commission that he continued to receive throughout his life. In 1805 he worked with Giani on the decorations of the Palazzo Aldini, Bologna.