Raffaello Sanzio Raphael Painting Reproductions 2 of 5
1483-1520
Italian High Renaissance Painter
Raphael - the name alone is enough to conjure an image of artistic perfection, an aura of Renaissance grandeur. Born Raffaello Sanzio da Urbino on either March 28 or April 6, 1483, his story is woven with brilliance, grace, and an almost uncanny ease with which he navigated the chaotic, competitive world of Italian art. Urbino, Raphael’s birthplace, was a city steeped in intellectual refinement - a cradle of Renaissance ideals where art, poetry, and philosophy mingled. His father, Giovanni Santi, was a court painter there, and though Raphael’s mother passed when he was only eight, it was Giovanni’s death just three years later that thrust the boy into a world of responsibility and art.
By the age of eleven, Raphael was managing his father’s workshop, showing the precocity and poise that would define his career. His early tutelage under the Umbrian master Perugino shaped his initial style - clean, elegant lines and serene compositions. By the year 1500, Raphael was already a "master" in his own right, absorbing Perugino’s lessons while quietly outgrowing them. As Giorgio Vasari famously remarked, at that time, one could scarcely tell their hands apart, so deeply had Raphael internalized Perugino’s mannerisms.
But Raphael was no mere imitator. His artistic journey can be divided into three distinct phases: his early period in Umbria, a transformative stay in Florence, and his final triumphs in Rome. Each phase marked a stylistic evolution, where Raphael shed the skin of his influences and emerged as a visionary in his own right. In Florence, between 1504 and 1508, he encountered the revolutionary works of Leonardo da Vinci and Michelangelo, absorbing their dynamism and depth but refining it into something distinctly his own. Where Michelangelo wrestled with raw power and anatomical tension, Raphael sought harmony. And where Leonardo delved into the mysteries of shadow and light, Raphael embraced clarity.
It was this clarity - a Neoplatonic ideal of human grandeur - that set Raphael apart. His figures, particularly the Madonnas he painted in Florence, embodied an ethereal grace, unburdened by the weight of earthly concerns. His "Madonna of the Goldfinch" and "La Belle Jardinière" showcase his ability to balance ideal beauty with human warmth, making his religious subjects both accessible and divine.
But the true apotheosis of Raphael’s talent came when he moved to Rome in 1508. Invited by Pope Julius II, Raphael entered the heart of the Renaissance world. His task: to fresco the private apartments of the Pope in the Vatican, known today as the Raphael Rooms. And it was here that he created his magnum opus, "The School of Athens."
Imagine the grand sweep of this fresco: Plato and Aristotle stride through an architectural fantasy that echoes ancient Rome, their hands raised in eternal debate, surrounded by the greatest minds of antiquity. Raphael masterfully weaves together figures from philosophy, mathematics, and science into a cohesive whole, a celebration of knowledge that is at once grand and intimate. Michelangelo himself is immortalized as the brooding Heraclitus, his muscular form a nod to his own work on the Sistine Chapel ceiling nearby. There is no mistaking Raphael’s hand here - his figures are idealized but alive, suffused with a grace that seems almost effortless.
And this word - "effortless" - is key to understanding Raphael’s genius. Vasari once described his work as possessing "sprezzatura", a certain nonchalance that conceals the immense skill beneath the surface. Yet this ease belies the immense workload Raphael shouldered. Not only was he producing masterpieces at a staggering rate, but he also managed a vast workshop of assistants, ensuring his vision extended even when he could not execute every brushstroke himself. His influence spread far beyond Rome, in part due to the engravings he produced with Marcantonio Raimondi, allowing Raphael’s images to travel across Europe.
Beyond painting, Raphael also made significant strides in architecture. After the death of Bramante in 1514, Raphael was appointed the chief architect of St. Peter’s Basilica. His plans for the grand church were ultimately altered by Michelangelo, but Raphael’s role in shaping Rome’s skyline cemented his reputation not just as a painter, but as a Renaissance man in the truest sense. His architectural designs, such as the Palazzo Branconio dell'Aquila (now sadly destroyed), and the elegant Chigi Chapel, showcased his versatility and his ability to adapt classical principles to contemporary needs.
But Raphael was more than a painter and architect; he was a man deeply entrenched in the cultural and intellectual currents of his time. His friendships with figures like Baldassare Castiglione, the author of "The Book of the Courtier," and Cardinal Pietro Bembo, a leading humanist, placed him at the heart of Renaissance thought. Castiglione’s concept of "sprezzatura" finds a fitting embodiment in Raphael’s art, which never feels labored, no matter how complex the composition.
Raphael’s life, tragically, was cut short. On Good Friday, April 6, 1520, he died at just 37, possibly due to an illness exacerbated by bloodletting, though Vasari, with a flourish of drama, blamed it on excessive romantic pursuits. His death plunged Rome into mourning. Buried in the Pantheon, his epitaph, written by his friend Bembo, reads: "Here lies that famous Raphael by whom Nature feared to be outdone while he lived, and when he died, feared she would die herself."
In death, Raphael’s influence only grew. While his serene compositions fell out of favor during the Baroque period, the Neoclassicists of the 18th century revived him as a model of ideal beauty and harmony. Johann Joachim Winckelmann, the father of art history, praised Raphael’s work as the pinnacle of artistic achievement. Yet, like any great artist, Raphael’s legacy is complex. The Pre-Raphaelites of the 19th century, for example, rebelled against the very perfection that had made him a model for centuries, seeking a return to the more visceral art of the early Renaissance.
Today, Raphael stands alongside Leonardo and Michelangelo as one of the titans of the Renaissance, but his legacy is uniquely his own. His art, with its balance of grace and clarity, continues to inspire not through force or drama, but through its quiet, assured beauty. It is in that subtlety, that "sprezzatura", that Raphael remains immortal.
By the age of eleven, Raphael was managing his father’s workshop, showing the precocity and poise that would define his career. His early tutelage under the Umbrian master Perugino shaped his initial style - clean, elegant lines and serene compositions. By the year 1500, Raphael was already a "master" in his own right, absorbing Perugino’s lessons while quietly outgrowing them. As Giorgio Vasari famously remarked, at that time, one could scarcely tell their hands apart, so deeply had Raphael internalized Perugino’s mannerisms.
But Raphael was no mere imitator. His artistic journey can be divided into three distinct phases: his early period in Umbria, a transformative stay in Florence, and his final triumphs in Rome. Each phase marked a stylistic evolution, where Raphael shed the skin of his influences and emerged as a visionary in his own right. In Florence, between 1504 and 1508, he encountered the revolutionary works of Leonardo da Vinci and Michelangelo, absorbing their dynamism and depth but refining it into something distinctly his own. Where Michelangelo wrestled with raw power and anatomical tension, Raphael sought harmony. And where Leonardo delved into the mysteries of shadow and light, Raphael embraced clarity.
It was this clarity - a Neoplatonic ideal of human grandeur - that set Raphael apart. His figures, particularly the Madonnas he painted in Florence, embodied an ethereal grace, unburdened by the weight of earthly concerns. His "Madonna of the Goldfinch" and "La Belle Jardinière" showcase his ability to balance ideal beauty with human warmth, making his religious subjects both accessible and divine.
But the true apotheosis of Raphael’s talent came when he moved to Rome in 1508. Invited by Pope Julius II, Raphael entered the heart of the Renaissance world. His task: to fresco the private apartments of the Pope in the Vatican, known today as the Raphael Rooms. And it was here that he created his magnum opus, "The School of Athens."
Imagine the grand sweep of this fresco: Plato and Aristotle stride through an architectural fantasy that echoes ancient Rome, their hands raised in eternal debate, surrounded by the greatest minds of antiquity. Raphael masterfully weaves together figures from philosophy, mathematics, and science into a cohesive whole, a celebration of knowledge that is at once grand and intimate. Michelangelo himself is immortalized as the brooding Heraclitus, his muscular form a nod to his own work on the Sistine Chapel ceiling nearby. There is no mistaking Raphael’s hand here - his figures are idealized but alive, suffused with a grace that seems almost effortless.
And this word - "effortless" - is key to understanding Raphael’s genius. Vasari once described his work as possessing "sprezzatura", a certain nonchalance that conceals the immense skill beneath the surface. Yet this ease belies the immense workload Raphael shouldered. Not only was he producing masterpieces at a staggering rate, but he also managed a vast workshop of assistants, ensuring his vision extended even when he could not execute every brushstroke himself. His influence spread far beyond Rome, in part due to the engravings he produced with Marcantonio Raimondi, allowing Raphael’s images to travel across Europe.
Beyond painting, Raphael also made significant strides in architecture. After the death of Bramante in 1514, Raphael was appointed the chief architect of St. Peter’s Basilica. His plans for the grand church were ultimately altered by Michelangelo, but Raphael’s role in shaping Rome’s skyline cemented his reputation not just as a painter, but as a Renaissance man in the truest sense. His architectural designs, such as the Palazzo Branconio dell'Aquila (now sadly destroyed), and the elegant Chigi Chapel, showcased his versatility and his ability to adapt classical principles to contemporary needs.
But Raphael was more than a painter and architect; he was a man deeply entrenched in the cultural and intellectual currents of his time. His friendships with figures like Baldassare Castiglione, the author of "The Book of the Courtier," and Cardinal Pietro Bembo, a leading humanist, placed him at the heart of Renaissance thought. Castiglione’s concept of "sprezzatura" finds a fitting embodiment in Raphael’s art, which never feels labored, no matter how complex the composition.
Raphael’s life, tragically, was cut short. On Good Friday, April 6, 1520, he died at just 37, possibly due to an illness exacerbated by bloodletting, though Vasari, with a flourish of drama, blamed it on excessive romantic pursuits. His death plunged Rome into mourning. Buried in the Pantheon, his epitaph, written by his friend Bembo, reads: "Here lies that famous Raphael by whom Nature feared to be outdone while he lived, and when he died, feared she would die herself."
In death, Raphael’s influence only grew. While his serene compositions fell out of favor during the Baroque period, the Neoclassicists of the 18th century revived him as a model of ideal beauty and harmony. Johann Joachim Winckelmann, the father of art history, praised Raphael’s work as the pinnacle of artistic achievement. Yet, like any great artist, Raphael’s legacy is complex. The Pre-Raphaelites of the 19th century, for example, rebelled against the very perfection that had made him a model for centuries, seeking a return to the more visceral art of the early Renaissance.
Today, Raphael stands alongside Leonardo and Michelangelo as one of the titans of the Renaissance, but his legacy is uniquely his own. His art, with its balance of grace and clarity, continues to inspire not through force or drama, but through its quiet, assured beauty. It is in that subtlety, that "sprezzatura", that Raphael remains immortal.
111 Raphael Paintings
Madonna of Belvedere (Madonna del Prato) c.1505/06
Oil Painting
$2018
$2018
Canvas Print
$59.08
$59.08
SKU: RSA-2055
Raffaello Sanzio Raphael
Original Size: 113 x 88.5 cm
Kunsthistorisches Museum, Vienna, Austria
Raffaello Sanzio Raphael
Original Size: 113 x 88.5 cm
Kunsthistorisches Museum, Vienna, Austria
La Belle Jardiniere c.1507/08
Oil Painting
$2356
$2356
Canvas Print
$50.56
$50.56
SKU: RSA-2056
Raffaello Sanzio Raphael
Original Size: 122 x 80 cm
Louvre Museum, Paris, France
Raffaello Sanzio Raphael
Original Size: 122 x 80 cm
Louvre Museum, Paris, France
Madonna of the Goldfinch (Madonna del Cardellino) c.1506
Oil Painting
$2331
$2331
Canvas Print
$54.76
$54.76
SKU: RSA-2057
Raffaello Sanzio Raphael
Original Size: 107 x 77 cm
Galleria degli Uffizi, Florence, Italy
Raffaello Sanzio Raphael
Original Size: 107 x 77 cm
Galleria degli Uffizi, Florence, Italy
Portrait of a Man c.1502/04
Oil Painting
$1448
$1448
Canvas Print
$50.56
$50.56
SKU: RSA-4250
Raffaello Sanzio Raphael
Original Size: 47 x 37 cm
Liechtenstein Museum, Vienna, Austria
Raffaello Sanzio Raphael
Original Size: 47 x 37 cm
Liechtenstein Museum, Vienna, Austria
School of Athens c.1510/11
Oil Painting
$10727
$10727
Canvas Print
$54.48
$54.48
SKU: RSA-5563
Raffaello Sanzio Raphael
Original Size: 547 x 770 cm
Pinacoteca, Vatican, Vatican City
Raffaello Sanzio Raphael
Original Size: 547 x 770 cm
Pinacoteca, Vatican, Vatican City
The Three Graces c.1504/05
Oil Painting
$1149
$1149
Canvas Print
$50.56
$50.56
SKU: RSA-8483
Raffaello Sanzio Raphael
Original Size: 17.8 x 17.6 cm
Musee Conde, Chantilly, France
Raffaello Sanzio Raphael
Original Size: 17.8 x 17.6 cm
Musee Conde, Chantilly, France
Angels (detail from The Triumph of Galatea) c.1511
Oil Painting
$2281
$2281
SKU: RSA-9404
Raffaello Sanzio Raphael
Original Size: unknown
Villa Farnesina, Rome, Italy
Raffaello Sanzio Raphael
Original Size: unknown
Villa Farnesina, Rome, Italy
Saint Catherine of Alexandria c.1507
Oil Painting
$1535
$1535
Canvas Print
$72.32
$72.32
SKU: RSA-11279
Raffaello Sanzio Raphael
Original Size: 72.2 x 55.7 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 72.2 x 55.7 cm
National Gallery, London, United Kingdom
The Madonna of the Pinks (La Madonna dei Garofani) c.1506/07
Oil Painting
$1656
$1656
Canvas Print
$50.56
$50.56
SKU: RSA-11280
Raffaello Sanzio Raphael
Original Size: 27.9 x 22.4 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 27.9 x 22.4 cm
National Gallery, London, United Kingdom
The Garvagh Madonna c.1509/10
Oil Painting
$1702
$1702
Canvas Print
$50.56
$50.56
SKU: RSA-11281
Raffaello Sanzio Raphael
Original Size: 38.9 x 32.9 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 38.9 x 32.9 cm
National Gallery, London, United Kingdom
The Ansidei Madonna 1505
Oil Painting
$3411
$3411
Canvas Print
$86.34
$86.34
SKU: RSA-11282
Raffaello Sanzio Raphael
Original Size: 216.8 x 147.6 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 216.8 x 147.6 cm
National Gallery, London, United Kingdom
An Allegory (Vision of a Knight) c.1504
Oil Painting
$1471
$1471
Canvas Print
$50.56
$50.56
SKU: RSA-11283
Raffaello Sanzio Raphael
Original Size: 17.1 x 17.3 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 17.1 x 17.3 cm
National Gallery, London, United Kingdom
Portrait of Pope Julius II 1511
Oil Painting
$1671
$1671
Canvas Print
$69.39
$69.39
SKU: RSA-11284
Raffaello Sanzio Raphael
Original Size: 108.7 x 81 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 108.7 x 81 cm
National Gallery, London, United Kingdom
The Mond Crucifixion c.1502/03
Oil Painting
$5910
$5910
Canvas Print
$50.56
$50.56
SKU: RSA-11285
Raffaello Sanzio Raphael
Original Size: 283.3 x 167.3 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 283.3 x 167.3 cm
National Gallery, London, United Kingdom
Saint John the Baptist Preaching 1505
Canvas Print
$50.56
$50.56
SKU: RSA-11286
Raffaello Sanzio Raphael
Original Size: 26.2 x 52 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 26.2 x 52 cm
National Gallery, London, United Kingdom
The Procession to Calvary c.1504/05
Canvas Print
$50.56
$50.56
SKU: RSA-11287
Raffaello Sanzio Raphael
Original Size: 24.4 x 85.5 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 24.4 x 85.5 cm
National Gallery, London, United Kingdom
The Madonna and Child (The Mackintosh Madonna) c.1509/11
Oil Painting
$1471
$1471
Canvas Print
$62.42
$62.42
SKU: RSA-11288
Raffaello Sanzio Raphael
Original Size: 78.8 x 64.2 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 78.8 x 64.2 cm
National Gallery, London, United Kingdom
The Madonna and Child n.d.
Oil Painting
$1900
$1900
Canvas Print
$89.39
$89.39
SKU: RSA-11289
Raffaello Sanzio Raphael
Original Size: 87 x 61.3 cm
National Gallery, London, United Kingdom
Raffaello Sanzio Raphael
Original Size: 87 x 61.3 cm
National Gallery, London, United Kingdom
The Deposition 1507
Oil Painting
$8130
$8130
Canvas Print
$73.98
$73.98
SKU: RSA-11290
Raffaello Sanzio Raphael
Original Size: 184 x 176 cm
Galleria Borghese, Rome, Italy
Raffaello Sanzio Raphael
Original Size: 184 x 176 cm
Galleria Borghese, Rome, Italy
La Donna Gravida (The Pregnant Woman) c.1505/07
Oil Painting
$1501
$1501
Canvas Print
$86.94
$86.94
SKU: RSA-11291
Raffaello Sanzio Raphael
Original Size: 66 x 52 cm
Palazzo Pitti, Florence, Italy
Raffaello Sanzio Raphael
Original Size: 66 x 52 cm
Palazzo Pitti, Florence, Italy
Madonna Colonna c.1507/08
Oil Painting
$1772
$1772
Canvas Print
$50.56
$50.56
SKU: RSA-11292
Raffaello Sanzio Raphael
Original Size: 52 x 38 cm
Gemaldegalerie, Berlin, Germany
Raffaello Sanzio Raphael
Original Size: 52 x 38 cm
Gemaldegalerie, Berlin, Germany
Madonna of the Candelabra c.1513
Oil Painting
$2071
$2071
Canvas Print
$74.69
$74.69
SKU: RSA-11293
Raffaello Sanzio Raphael
Original Size: 65.7 x 64 cm
The Walters Art Museum, Baltimore, USA
Raffaello Sanzio Raphael
Original Size: 65.7 x 64 cm
The Walters Art Museum, Baltimore, USA
Niccolini-Cowper Madonna 1508
Oil Painting
$1799
$1799
Canvas Print
$53.93
$53.93
SKU: RSA-11294
Raffaello Sanzio Raphael
Original Size: 80.7 x 57.5 cm
National Gallery of Art, Washington, USA
Raffaello Sanzio Raphael
Original Size: 80.7 x 57.5 cm
National Gallery of Art, Washington, USA
Portrait of a Man c.1502
Oil Painting
$1172
$1172
Canvas Print
$50.56
$50.56
SKU: RSA-11295
Raffaello Sanzio Raphael
Original Size: 45 x 31 cm
Galleria Borghese, Rome, Italy
Raffaello Sanzio Raphael
Original Size: 45 x 31 cm
Galleria Borghese, Rome, Italy