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 :. | Transfiguration, | Madonna of the Goldfinch | In the Garden kkjkjk | Portrait of Cardinal Bibbiena | The Holy Family Known as the Little Holy Family (mk05) |
Related Artists:
HONDECOETER, Gillis Claesz. d
Dutch painter (b. ca. 1575, Antwerpen, d. 1638, Amsterdam)
Charles Landelle
1812-1908 French painter. His father, a calligrapher and musician from Mayenne, moved to Paris in 1825 to take up a post as musician in the Tuileries. Ary Scheffer, whom Landelle met through his father's contact with the Orleans court, encouraged him to become a painter. He registered at the Ecole des Beaux-Arts on 2 October 1837 as a pupil of Paul Delaroche and made his debut at the Salon in 1841 with a Self-portrait (Laval, Mus. Vieux-Cheteau). His first success, Fra Angelico asking God for Inspiration , indicated a sentimental, religious tendency in his work, which alternated with pretty pictures of young girls. Charity. commissioned by Antoine Vivenel (1799-1862), was followed by Idyll and Elegy (untraced), which were bought by the dealer Adolphe Goupil on the opening day of the 1844 Salon. The contract to buy also included Goupil's right of first refusal on the reproduction of all Landelle's future work. Subsequently, he painted the Three Marys at the Tomb in the pious manner of Ary Scheffer and a sweet, angelic St Cecilia, commissioned in 1845 by the Prefect of the Seine, in which elements of the early Renaissance art seen by Landelle on a trip to Italy in 1845 combined with the soft, pale style common among some of his colleagues from the studio of Delaroche. He also painted religious works for St Roch (1850), St Germain l'Auxerrois (1856) and St Sulpice (1875) churches in Paris.
Maurice Utrillo
French Painter, 1883-1955,French painter, son of SUZANNE VALADON. He was entrusted to his grandmother while his mother posed as a model for such painters as Renoir and Puvis de Chavannes before discovering her own talent for drawing and painting. His father, the Spanish painter Miguel Utrillo (1862-1934), only admitted paternity eight years after Maurice's birth. Maurice Utrillo had no predisposition for art, but when he was 19 his mother took medical advice and urged him to adopt drawing and painting as a distraction from his need for alcohol. In search of a suitable subject, he went to the countryside around Montmagny, a village to the north of Paris, where, between the autumn of 1903 and the winter of 1904, he completed almost 150 paintings, sombre, heavily impasted landscapes, such as the Roofs of Montmagny (Paris, Pompidou). By 1906 the doctor felt that Utrillo could return to Montmartre. His pictures of the streets and suburbs were painted with a less heavy impasto and with lighter tones.