राफेल: Difference between revisions

Content deleted Content added
m r2.7.1) (रोबोट ले थप्दै: mr:रफायेल
m r2.7.2) (रोबोट ले थप्दै: haw:Raffael Santi; अंगराग परिवर्तन
Line २५:
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.<ref>Vasari:208, 230 and passim</ref>
 
== Urbino ==
Raphael was born in the small but artistically significant Central Italian city of [[Urbino]] in the [[Marche]] region,<ref>''Urbino: The Story of a Renaissance City'' By June Osborne, p.39 on the population, as a "few thousand" at most; even today it is only 15,000 without the students of the University</ref> where his father [[Giovanni Santi]] was court painter to the Duke. The reputation of the court had been established by [[Federigo da Montefeltro]], a highly successful [[condottiere]] who had been created the first [[Duke of Urbino]] by the Pope - Urbino formed part of the [[Papal States]] - and who died the year before Raphael was born. The emphasis of Federigo's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federigo, and both wrote the texts and produced the decor for [[masque]]-like court entertainments. His poem to Federigo shows him as keen to show awareness of the most advanced North Italian painters, and [[Early Netherlandish painting|Early Netherlandish artists]] as well. In the very small court of Urbino he was probably more integrated into court life than most court painters.
Line ३१:
Federigo was succeeded by his son [[Guidobaldo da Montefeltro]], who married [[Elisabetta Gonzaga]], daughter of the ruler of [[Mantua]], the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari.<ref>Vasari:207 & passim</ref> Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court by [[Baldassare Castiglione]]'s depiction of it in his classic work ''[[The Book of the Courtier]]'', published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. Other regular visitors to the court were also to become great friends: [[Bernardo Dovizi|Pietro Bibbiena]] and [[Pietro Bembo]], both later [[Cardinal (Catholicism)|Cardinals]], were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin.<ref>Jones & Penny:204</ref>
 
== Early life and work ==
[[Imageकिपा:Sanzio 00.jpg|thumb|left|Self-Portrait]]
In [[1491]], his mother Màgia died, followed by his father (who had already remarried) on [[August 1]], [[1494]]. Orphaned at eleven, Raphael's formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not living as an apprentice with a master. He had already shown talent, according to [[Giorgio Vasari]], who tells that Raphael had been "a great help to his father". A brilliant [[self-portrait]] drawing from his teenage years shows his precocious talent.<ref>[[Ashmolean Museum]] [http://z.about.com/d/arthistory/1/0/W/O/raphael_colonna_01.jpg image]</ref> His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of [[Paolo Uccello]], previously the court painter (d. 1475), and [[Luca Signorelli]], who until 1498 was based in nearby [[Città di Castello]].
 
Line ४७:
</gallery>
 
== The influence of Florence ==
Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. However, although there is traditional reference to a "Florentine period" of about 1504-8, he was certainly never a continuous resident there.<ref>Gould:207-8</ref> He may have needed to visit the city to secure materials in any case. There is a letter of recommendation of Raphael, dated October 1504, from the mother of the next Duke of Urbino to the [[Gonfaloniere]] of Florence: "The bearer of this will be found to be Raphael, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father was most worthy and I was very attached to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love..."<ref>Jones and Penny:5</ref>
 
Line ६३:
</gallery>
 
== Roman period ==
=== The Vatican "Stanze" ===
By the end of [[1508]], he had moved to Rome, where he lived for the rest of his life. He was invited by the new [[Pope Julius II]], perhaps at the suggestion of his architect [[Donato Bramante]], then engaged on St. Peter's, who came from just outside Urbino and was distantly related to Raphael.<ref>Jones & Penny:49, differing somewhat from Gould:208 on the timing of his arrival</ref> Unlike Michelangelo, who had been kept hanging around in Rome for several months after his first summons,<ref>Vasari:247</ref> Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the [[Vatican Palace]].<ref>although Julius was no great reader - an inventory compiled after his death has a total of 220 books, large for the time, but hardly requiring such a receptacle. There was no room for bookcases on the walls, which were in cases in the middle of the floor, destroyed in the 1527 Sack of Rome. Jones & Penny:4952</ref> This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, [[Pope Alexander VI|Alexander VI]], whose contributions, and [[coat of arms|arms]], Julius was determined to efface from the palace.<ref>Jones & Penny:49</ref> Michelangelo, meanwhile, had been commissioned to paint the [[Sistine Chapel ceiling]].
[[Imageकिपा:Raffael 072.jpg|thumb|left|''[[The Parnassus]]'', 1511, [[Stanza della Segnatura]]]]
This first of the famous "Stanze" or "[[Raphael Rooms]]" to be painted, now always known as the ''[[Stanza della Segnatura]]'' after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing ''[[The School of Athens]]'', ''[[The Parnassus]]'' and the ''[[Disputation of the Holy Sacrament|Disputa]]''. Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael's last Pope, the [[Medici]] [[Pope Leo X]], with whom Raphael also got on very well, and who continued to commission him.<ref>Jones & Penny:49-128</ref>
 
Line ७९:
</gallery>
 
=== Other projects ===
The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes [[Portrait of Pope Julius II (Raphael)|Julius II]] and his successor [[Portrait of Pope Leo X (Raphael)|Leo X]], the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. Other rulers pressed for work, and [[François I of France]] was sent two paintings as diplomatic gifts from the Pope. For [[Agostino Chigi]] the hugely rich banker and Papal Treasurer, he painted the [[Galatea (Raphael)|Galatea]], and designed further decorative frescoes, for his [[Villa Farnesina]], and painted two chapels in the churches of [[Santa Maria della Pace]] and [[Santa Maria del Popolo]]. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.
 
Line ९२:
</gallery>
 
== Workshop ==
Vasari says that Raphael eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single [[old master]] painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, often very difficult to assign to a particular hand.
 
Line १०१:
Other pupils or assistants include [[Raffaellino del Colle]], [[Andrea Sabbatini]], [[Bartolommeo Ramenghi]], [[Pellegrino Aretusi]], [[Vincenzo Tamagni]], [[Battista Dossi]], [[Tommaso Vincidor]], [[Timoteo Viti]] (the Urbino painter), and the sculptor and architect [[Lorenzetto]] (Giulio's brother-in-law).<ref>The direct transmission of training can be traced to some surprising figures, including [[Brian Eno]], [[Tom Phillips]] and [[Frank Auerbach]] [http://tomphillips.co.uk/portrait/beno/index.html]</ref> [[Giovanni da Udine]] worked mostly as a stuccoist. The printmakers and architects in Raphael's circle are discussed below. It has been claimed the Flemish [[Bernard van Orley]] worked for Raphael for a time, and Luca Penni, brother of Gianfrancesco, may have been a member of the team.<ref>Vasari (full text in Italian)[http://biblio.cribecu.sns.it/cgi-bin/vasari/Vasari-all?code_f=print_page&work=le_vite&volume_n=4&page_n=197 pp197-8 & passim]; see also [http://www.getty.edu/research/conducting_research/vocabularies/ulan/ Getty Union Artist Name List] entries</ref>
 
=== Portraits ===
<gallery>
Image:Raffaello - ElisabettaGonzaga.jpg|[[Portrait of Elisabetta Gonzaga]], ca. 1504
Line ११०:
</gallery>
 
== Architecture ==
After Bramante's death in 1514, he was named architect of the new [[St. Peter's Basilica|St Peter's]]. Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by [[Antonio da Sangallo the Younger]]. It would perhaps have resembled the temple in the background of the ''[[The Expulsion of Heliodorus from the Temple]]''.<ref>Jones & Penny:215-218</ref>
[[Imageकिपा:PalazzoBranconioDellAquila.jpg|thumb|The ''Palazzo Aquila'', now destroyed]]
He designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces.
 
Line ११८:
 
The main designs for the Villa Farnesina were not by Raphael, but he did design, and paint, the [[Chigi Chapel]] for the same patron, [[Agostino Chigi]], the Papal Treasurer. Another building, for the Pope's doctor, the ''Palazzo di Jacobo da Brescia'', was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time.
[[Imageकिपा:ChigiLorenzetto.jpg|left|thumb|View of the [[Chigi Chapel]]]]
The [[Villa Madama]], a lavish hillside retreat for Cardinal Giulio de' Medici, later [[Pope Clement VII]], was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by [[Antonio da Sangallo the Younger]]. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which [[Palladio]] made a measured drawing.<ref>Jones and Penny:226-234; Raphael left a long letter describing his intentions to the Cardinal, reprinted in full on pp.247-8</ref>
 
Line १२५:
In [[1515]] he was given powers as "Prefect" over all antiquities unearthed entrusted within the city, or a mile outside. Raphael wrote a letter to the Pope suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The Pope's concerns were not exactly the same; he intended to continue to re-use ancient masonry in the building of St Peter's, but wanted to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused.<ref>Jones & Penny:205 The letter may date from 1519, or before his appointment</ref>
 
== Drawings ==
[[Imageकिपा:Lucretia MR.jpg|thumb|right|Lucretia, engraved by Raimondi after a drawing by Raphael.<ref>[http://www.metmuseum.org/works_of_art/collection_database/Lucretia_Raphael_Raffaello_Sanzio/ViewObject.aspx?depNm=drawings_and_prints&pID=-1&kWd=Raphael&OID=90004100&vW=-1&Pg=1&St=0&StOd=1&vT=1 drawing, probably not the final one]</ref>]]
Raphael was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there.<ref>GB Armenini (1533-1609) ''De vera precetti della pittura''(1587), quoted Pon:115</ref> Over forty sketches survive for the ''Disputa'' in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether.<ref>Jones & Penny:58 & ff; 400 from Pon:114</ref> He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done." wrote another writer after his death.<ref>Ludovico Dolce (1508-68), from his ''L'Aretino'' of 1557, quoted Pon:114</ref> For John Shearman, Raphael's art marks "a shift of resources away from production to research and development".<ref>quoted Pon:114, from lecture on ''The Organization of Raphael's Workshop'', pub. Chicago, 1983</ref>
 
Line १३३:
In later works painted by the workshop, the drawings are often painfully more attractive than the paintings.<ref>Lucy Whitaker, Martin Clayton, ''The Art of Italy in the Royal Collection; Renaissance and Baroque'', p.84, Royal Collection Publications, 2007, ISBN 978 1 902163 291</ref> Most Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use [[metalpoint]] (literally a sharp pointed piece of sliver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk.<ref>Pon:104</ref> In his final years he was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes.<ref>[http://www.nationalgalleries.org/index.php/collection/online_az/4:322/results/0/14803/ National Galleries of Scotland]</ref>
 
== Printmaking ==
Raphael made no [[old master print|prints]] himself, but entered into a collaboration with [[Marcantonio Raimondi]] to produce [[engraving]]s to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the [[Old master print#The Rise of the Reproductive Print|rise of the reproductive print]]. His interest was unusual in such a major artist; from his contemporaries only [[Titian]], who had worked much less successfully with Raimondi, shared it.<ref>Pon:102. See also a lengthy analysis in: Landau:118 ff</ref> A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving. The most famous original prints to result from the collaboration were ''Lucretia'', the ''Judgement of Paris'' and ''The Massacre of the Innocents'' (of which two virtually identical versions were engraved); prints of the paintings ''[[The Parnassus]]'' (with considerable differences)<ref>Pon:86-87 lists them</ref> and ''Galatea'' were also especially well-known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century. [[Baviero Carocci]], called "Il Baviera" by Vasari, an assistant or servant who Raphael evidently trusted with his money, ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.<ref>Pon:95-136 & passim; Landau:118-160, and passim</ref>
<gallery>
Line १४३:
</gallery>
 
== Private life and death ==
[[Imageकिपा:Fornarina.jpg|thumb|''[[La Fornarina]]'', Raphael's mistress.]]
Raphael lived in the Borgo, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the Cardinal, and his lack of enthusiasm seems to be shown by the marriage not taking place before she died in [[1520]].<ref name="autogenerated1">Vasari:230-231</ref> He is said to have had many affairs, but a permanent fixture in his life in Rome was ''La Fornarina'', Margherita Luti, the daughter of a baker (''fornaro'') named Francesco Luti from Siena who lived at Via del Governo Vecchio. <ref>Art historians and doctors debate whether the right hand on the left breast in ''[[La Fornarina]]'' reveal a cancerous breast tumour detailed and disguised in a classic pose of love."The Portrait of Breast Cancer and Raphael's La Fornarina", ''[[The Lancet]]'', December 21, 2002/December 28, 2002.</ref> He was made a "[[Valet de chambre|Groom of the Chamber]]" of the Pope, which gave him status at court and an additional income. Vasari claims he had toyed with the ambition of becoming a [[Cardinal (Catholicism)|Cardinal]], perhaps after some encouragement from Leo, which also may account for his delaying his marriage.<ref name="autogenerated1" />
 
According to Vasari, Raphael's premature death on [[Good Friday]] ([[April 6]], [[1520]]) (possibly his 37th birthday), was caused by a night of excessive sex with her, after which he fell into a fever and, not telling his doctors that this was its cause, was given the wrong cure, which killed him.<ref> Various other historians provide different theories: [[Bernardino Ramazzini]] (1700), in his ''De morbis artificum'', noted that painters at the time generally led “sedentary lives and melancholic disposition” and often worked “with mercury- and lead-based materials.” Bufarale (1915) “diagnosed penumonia or a military fever” while Portigliotti suggested “pulmonary disease.” Joannides has stated that “Raphael died of over-work. Note also that Raphael's age at death is also debated by some, with Michiel asserting that Raphael died at thirty-four, while Pandolfo Pico and Girolamo Lippomano arguing that Raphael died at thirty-three. For all see: ''Raphael in Early Modern Sources 1483-1602'' by John K. G. Shearman, p. 573. Yale University Press (2003)(ISBN 03000991850-300-09918-5)</ref>
 
Whatever the cause, in his acute illness, which lasted fifteen days, Raphael was composed enough to receive the [[last rites]], and to put his affairs in order. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the [[Pantheon, Rome|Pantheon]].<ref>Vasari:231</ref>
Line १५५:
His funeral was extremely grand, attended by large crowds. The inscription in his marble sarcophagus, an [[elegiac poetry|elegiac]] [[distich]] written by [[Pietro Bembo]], reads: "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori." Meaning: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."
 
== Critical reception ==
[[Imageकिपा:Raffael 051.jpg|thumb|left|''[[Sistine Madonna]]'' 1513-14]]
Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. [[Mannerism]], beginning at the time of his death, and later the [[Baroque]], took art "in a direction totally opposed" to Raphael's qualities;<ref>[[André Chastel|Chastel André]], ''Italian Art'',p. 230, 1963, Faber</ref> "with Raphael's death, classic art - the High Renaissance - subsided", as [[Walter Friedländer]] put it.<ref>Walter Friedländer, ''Mannerism and Anti-Mannerism in Italian Painting'', p.42 (Schocken 1970 edn.), 1957, Columbia UP</ref> He was soon seen as the ideal model by those disliking the excesses of Mannerism:<blockquote>the opinion ...was generally held in the middle of the sixteenth century that Raphael was the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more brilliant than any other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to the great artist. Those, like Dolce and [[Aretino]], who held this view were usually the survivors of [[Renaissance Humanism]], unable to follow Michelangelo as he moved on into Mannerism.<ref>Blunt:76</ref></blockquote> Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the ''[[Lives of the Most Excellent Painters, Sculptors, and Architects|Lives]]'' expressing similar views.<ref>See Jones & Penny:102-4</ref>
Line १७०:
He was still seen by 20th century critics like [[Bernard Berenson]] as the "most famous and most loved" master of the High Renaissance,<ref>[[Bernard Berenson|Berenson, Bernard]], ''Italian Painters of the renaissance, Vol 2 Florentine and Central Italian Schools'', Phaidon 1952 (refs to 1968 edn), p.94</ref> but it would seem he has since been overtaken by Michelangelo and Leonardo in this respect.<ref>For what it is worth, Amazon UK's "Renaissance" top 25 bestsellers list included 5 books with Leonardo in the title, 3 with Michelangelo, and 1 with Raphael. [http://www.amazon.co.uk/gp/bestsellers/books/267836 accessed December 6th, 2007]. Their US site does not run a comparable list.</ref>
 
== See also ==
* [[List of works by Raphael]]
* [[Renaissance painting]]
* [[Italian Renaissance]]
 
== Notes ==
[[Imageकिपा:Pantheon-raphaels-tomb.jpg|thumb|Raphael and Maria Bibbiena's tomb in the [[Pantheon, Rome|Pantheon]]. The Madonna is by [[Lorenzetto]].]]
{{reflist|2}}
 
== Main references ==
* [[Anthony Blunt|Blunt, Anthony]], ''Artistic Theory in Italy, 1450-1660'', 1940 (refs to 1985 edn), [[OUP]], ISBN0198810504
* [[Cecil Gould|Gould, Cecil]], ''The Sixteenth Century Italian Schools'', National Gallery Catalogues, London 1975, ISBN 09476452250-947645-22-5
* Roger Jones and [[Nicholas Penny]], ''Raphael'', Yale, 1983, ISBN 03000306140-300-03061-4
* Landau, David in:David Landau & Peter Parshall, ''The Renaissance Print'', Yale, 1996, ISBN 03000688320-300-06883-2
* Pon, Lisa, ''Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print'', 2004, Yale UP, ISBN 9780300096804978-0-300-09680-4
* [[Giorgio Vasari|Vasari]], selected & ed Malcolm Bull, ''Artists of the Renaissance'', Penguin 1965 (page nos from BCA edn, 1979)
* [[Heinrich Wölfflin|Wölfflin, Heinrich]]; ''Classic Art; An Introduction to the Renaissance'', 1952 in English (1968 edition), Phaidon, New York.
 
== Further reading ==
The standard source of biographical information is now: V. Golzio, ''Raffaello nei documenti nelle testimonianze dei contemporanei e nella letturatura del suo secolo'', Vatican City and Westmead, 1971
 
== External links ==
{{commonscat|Raffaello Sanzio}}
* [http://www.vam.ac.uk/collections/paintings/raphael/cartoons/index.html V&A London online feature on the Raphael Cartoons]
* [http://www.royalcollection.org.uk/eGallery/searchResults.asp?searchText=&title=&makerName=Raphael&category=&collector=&theme=&startYear=&endYear=&rccode= Ten drawings and three paintings from the Royal Collection]
* [http://www.wga.hu/frames-e.html?/html/r/raphael/ Web Gallery of Art]
* [http://search.famsf.org:8080/search.shtml?keywords=raphael&artist=raimondi&country=&period=&sort=&submit.x=20&submit.y=7 Most of the Raphael/Raimondi prints from the San Francisco Museums]
* [http://smarthistory.org/blog/67/raphael-alba-madonna-c-1510-national-gallery-washington-dc/ smARThistory: Raphael's ''Alba Madonna'']
 
{{Raphael}}
{{वास्तुशास्त्री, शील्पकार व चित्रकार}}
 
[[Categoryपुचः:वास्तुशास्त्री, शील्पकार व चित्रकार]]
[[Categoryपुचः:Raphael|*]]
[[Categoryपुचः:Italian painters]]
[[Categoryपुचः:Portrait artists]]
[[Category:Roman Catholic Church art|Raphael]]
[[Categoryपुचः:1483Roman birthsCatholic Church art|Raphael]]
[[Categoryपुचः:15201483 deathsbirths|Raphael]]
[[Categoryपुचः:People1520 from Urbinodeaths|Raphael]]
[[Categoryपुचः:ItalianPeople Romanfrom CatholicsUrbino|Raphael]]
[[Categoryपुचः:RenaissanceItalian paintersRoman Catholics|Raphael]]
[[पुचः:Renaissance painters|Raphael]]
 
[[af:Raphael]]
Line २४४ ⟶ २४५:
[[gl:Rafael]]
[[hak:Là-fî-ngì]]
[[haw:Raffael Santi]]
[[he:רפאל (צייר)]]
[[hif:Raphael]]