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The Cardinal, c.1510 by Raphael

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The Cardinal, c.1510 | Raphael | Painting Reproduction
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Painting Title:

The Cardinal, c.1510


Raffaello Sanzio Raphael (1483-1520)


Prado Museum Madrid Spain

Original Size:

79 x 61 cm


Painting Reproduction completely hand-painted with oil on blank linen canvas.

Creation Time:

Your Raphael Hand-Painted Art Reproduction must not be rushed as it need time for reaching the high quality and precision and also for getting dry. Depending of the complexity and the details of the painting, we need of several weeks for creation of the painting.


We not frame oil painting reproductions. The Hand-Painted Art Reproduction is expensive product and the risk of damages during transport of stretched on a frame painting is too high. "The Cardinal" by Raphael is unframed and will be shipped rolled up in postal tube.
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Reviews (1)

Topic: The Cardinal, c.1510 by Raphael
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Portrait of a Cardinal by Raphael
Masterpiece of Raphael's portrait painting in the first years of his activity in Rome, it is considered contemporary with the Stanza della Segnatura. In particular it is comparable to the fresco of Julius II, in the guise of Gregory IX, approving the decretals delivered to him by St. Raymond of Pennafort - a fresco that cannot be dated after 1511. Raphael's vocation for portraiture was revealed in his earliest work. In the frescoes of the Vatican Stanzas - that poem of human spirituality - numerous portraits of friends and famous personalities of the time appear as historical figures of the past. But despite innumerable suggestions by scholars (the candidates most frequently proposed are Alidosi and Ippolito d'Este), the impenetrable face of this cardinal has managed to maintain its incognito. The impression made by those sealed lips becomes emblematic of the history of this memorable image, which out of its anonymity attains the universality of a human type: the calculating and enigmatic diplomat.
The formal means by which the figure of the cardinal is achieved verges on overstatement. It has been observed that the composition consists of two inverted pyramids joined at their apexes, and shows that play of volumes as perfect forms, almost an obsession in Renaissance painting. And other subtle harmonies have been noted in the play of line that defines the face and the hat. Certainly the impression created of a sense of incorruptible matter - the stuff of which the image is made - emphasizes admirably the inflexible spirituality that must have emanated from the illustrious, aristocratic model.
16th March 2014 9:59pm

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