Raphael Santi created what. Fresco "Fire in Borgo". The stanzas are masterpieces not only in terms of the plastic design of the figures, the characteristics of the images, and the color. In these frescoes, the viewer is struck by the grandeur of the architectural ensembles created by the painter’s brush, created

Rafael Santi (Italian: Raffaello Santi, Raffaello Sanzio, Rafael, Raffael da Urbino, Rafaelo; March 26 or 28, or April 6, 1483, Urbino - April 6, 1520, Rome) - great Italian painter, graphic artist and architect, representative of the Umbrian school.

Rafael lost his parents early. The mother, Margie Charla, died in 1491, and the father, Giovanni Santi, died in 1494.
His father was an artist and poet at the court of the Duke of Urbino, and Raphael received his first experience as an artist in his father’s workshop. The earliest work is the Madonna and Child fresco, which is still in the house museum.

Among the first works are the Banner with the Image of the Holy Trinity (circa 1499-1500) and the altar image The Coronation of St. Nicholas of Tolentino" (1500-1501) for the church of Sant'Agostino in Città di Castello.

In 1501, Raphael came to the workshop of Pietro Perugino in Perugia, so the early works were made in the style of Perugino.

At this time, he often leaves Perugia for his home in Urbino, in Città di Castello, visits Siena together with Pinturicchio, and carries out a number of works on orders from Città di Castello and Perugia.

In 1502, the first Raphael Madonna appeared - “Madonna Solly”; Raphael would write Madonnas all his life.

The first paintings not painted on religious themes were “The Knight’s Dream” and “The Three Graces” (both around 1504).

Gradually, Raphael developed his own style and created his first masterpieces - “The Betrothal of the Virgin Mary to Joseph” (1504), “The Coronation of Mary” (circa 1504) for the Oddi altar.

In addition to large altar paintings, he painted small paintings: “Madonna Conestabile” (1502-1504), “St. George Slaying the Dragon” (circa 1504-1505) and portraits - “Portrait of Pietro Bembo” (1504-1506).

In 1504, in Urbino, he met Baldassar Castiglione.

At the end of 1504 he moved to Florence. Here he meets Leonardo da Vinci, Michelangelo, Bartolomeo della Porta and many other Florentine masters. Carefully studies the painting techniques of Leonardo da Vinci and Michelangelo. A drawing by Raphael from the lost painting by Leonardo da Vinci “Leda and the Swan” and a drawing from “St. Matthew" Michelangelo. “...the techniques that he saw in the works of Leonardo and Michelangelo forced him to work even harder in order to extract from them unprecedented benefits for his art and his manner.”

The first order in Florence comes from Agnolo Doni for portraits of him and his wife, the latter painted by Raphael under the obvious impression of La Gioconda. It was for Agnolo Doni that Michelangelo Buonarroti created the tondo “Madonna Doni” at this time.

Raphael paints altar paintings “Madonna Enthroned with John the Baptist and Nicholas of Bari” (circa 1505), “Entombment” (1507) and portraits - “Lady with a Unicorn” (circa 1506-1507).

In 1507 he met Bramante.

Raphael's popularity is constantly growing, he receives many orders for images of saints - “The Holy Family with St. Elizabeth and John the Baptist" (circa 1506-1507). “Holy Family (Madonna with Beardless Joseph)” (1505-1507), “St. Catherine of Alexandria" (circa 1507-1508).

In Florence, Raphael created about 20 Madonnas. Although the plots are standard: the Madonna either holds the Child in her arms, or he plays next to John the Baptist, all Madonnas are individual and are distinguished by their special maternal charm (apparently, the early death of his mother left a deep mark on Raphael’s soul).

Raphael's growing fame led to an increase in orders for Madonnas; he created the “Madonna of Granduca” (1505), “Madonna of the Carnations” (circa 1506), and “Madonna under the Canopy” (1506-1508). TO the best works This period includes the “Madonna of Terranuova” (1504-1505), “Madonna with the Goldfinch” (1506), “Madonna and Child with John the Baptist (The Beautiful Gardener)” (1507-1508).

In the second half of 1508, Raphael moved to Rome (where he would spend the rest of his life) and, with the assistance of Bramante, became the official artist of the papal court. He was commissioned to fresco the Stanza della Segnatura. For this stanza, Raphael painted frescoes reflecting four types of human intellectual activity: theology, jurisprudence, poetry and philosophy - “Disputa” (1508-1509), “Wisdom, Temperance and Strength” (1511), and the most outstanding “Parnassus” (1509 -1510) and the “School of Athens” (1510-1511).

This is part of a Wikipedia article used under the CC-BY-SA license. Full text of the article here →

(1483-1520) is one of the brightest geniuses. He survived difficult childhood, having lost his mother and father early. However, then fate, without stint, gave him everything. what he wanted was numerous orders, enormous success and great fame, wealth and honor, universal love, including the love of women. Admiring admirers called him “divine.” However, it has long been noted that fate is capricious and unpredictable. From whom she showers gifts too generously, she may suddenly turn away. This is exactly what happened to Raphael: in the prime of life and creativity, he unexpectedly died.

Raphael was an architect and painter. Following Bramante, he participated in the design and construction of the Cathedral of St. Peter, built the Chigi Chapel of the Church of Santa Maria del Popolo in Rome. However, it brought him unprecedented fame painting.

Unlike Leonardo, Raphael was completely of his time. There is nothing strange, mysterious or enigmatic in his works. Everything in them is clear and transparent, everything is beautiful and perfect. He most powerfully embodied the positive ideal wonderful person. A life-affirming principle reigns in his work.

The main theme of his work was the theme of Madonna, which he found an unsurpassed, ideal embodiment. It was to her that Raphael dedicated one of his early works - “Madonna Conestabile”, where Madonna is depicted with a book being leafed through by a baby. Already in this painting the important artistic principles great artist. Madonna is devoid of holiness; she expresses not only maternal love, but embodies the ideal of a beautiful person. Everything in the picture is marked by perfection: the composition. colors, figures, landscape.

This painting was followed by a whole series of variations on the same theme - “Madonna with the Goldfinch”, “The Beautiful Gardener”. “Madonna among the greenery”, “Madonna with beardless Joseph”, “Madonna under the canopy”. A. Benois defined these variations as “charming picturesque sonnets.” All of them elevate and idealize a person, glorify beauty, harmony and grace.

After a short break, when Raphael was busy with fresco paintings, he again returned to the theme of the Madonna. In some of her images, he seems to vary previously found models. These, in particular, are “Madonna Alba” and “Madonna in an Armchair”, the composition of which is subordinated to a round frame. At the same time, he creates new types of images of Madonna.

The pinnacle in the development of the theme of the Mother of God was “ Sistine Madonna " which has become a real hymn to the physical and spiritual perfection of man. Unlike all other Madonnas, the Sistine expresses an inexhaustible human meaning. It combines the earthly and the heavenly, the simple and the sublime, the close and the inaccessible. You can read everything on her face human feelings: tenderness, timidity, anxiety, confidence, severity, dignity, greatness.

Chief among them, according to Winckelmann, are “ noble simplicity and calm grandeur." Measure, balance and harmony reign in the picture. It is distinguished by smooth and rounded lines, soft and melodic patterns, richness and richness of color. Madonna herself radiates energy and movement. With this work, Raphael created the most sublime and poetic image of the Madonna in Renaissance art.

Raphael's outstanding works include the paintings of the personal papal chambers (stanzas) in the Vatican, dedicated to biblical stories, as well as philosophy, art and law.

The fresco "School of Athens" depicts a meeting of philosophers and scientists of Antiquity. In the center are the majestic figures of Plato and Aristotle, and on either side of them are the ancient sages and scientists.

The fresco "Parnassus" represents Apollo and the Muses surrounded by the great poets of antiquity and the Italian Renaissance. All paintings are marked the highest skill composition, bright decorativeness, natural poses and gestures of the characters.

Raphael (Raffaello Santi) (1483 - 1520) – artist (painter, graphic artist), architect of the era High Renaissance.

Biography of Rafael Santi

In 1500 he moved to Perugia and entered Perugino’s workshop to study painting. At the same time, Raphael completed his first independent works: the skills and abilities adopted from his father had an impact. The most successful of his early works- “Madonna Conestabile” (1502-1503), “The Knight’s Dream”, “Saint George” (both 1504)

Feeling like an accomplished artist, Raphael left his teacher in 1504 and moved to Florence. Here he worked hard to create the image of the Madonna, to whom he dedicated no less than ten works (“Madonna with the Goldfinch,” 1506-1507; “Entombment,” 1507, etc.).

At the end of 1508, Pope Julius II invited Raphael to move to Rome, where the artist spent the final period of his life. short life. At the court of the Pope, he received the position of “artist of the Apostolic See.” The main place in his work was now occupied by the paintings of the state rooms (stanzas) of the Vatican Palace.

In Rome, Raphael achieved perfection as a portrait painter and acquired the opportunity to realize his talent as an architect: from 1514 he supervised the construction of St. Peter's Cathedral.

In 1515, he was appointed Commissioner of Antiquities, which meant studying and protecting ancient monuments and supervising excavations.

The most famous of Raphael’s works, “The Sistine Madonna” (1515-1519), was also written in Rome. IN last years life popular artist was so loaded with orders that he had to entrust their implementation to students, limiting himself to drawing up sketches and general supervision of the work.
Died April 6, 1520 in Rome.

Tragedy genius master It was that he was unable to leave behind worthy successors.

However, Raphael's work had a huge influence on the development of world painting.

Works of Rafael Santi

The idea of the brightest and most sublime ideals of Renaissance humanism was most fully embodied in his work by Raphael Santi (1483-1520). A younger contemporary of Leonardo, who lived a short, extremely rich life, Raphael synthesized the achievements of his predecessors and created his own ideal of beauty, harmoniously developed person surrounded by majestic architecture or landscape.

As a seventeen-year-old boy, he discovers the real creative maturity, creating a series of images, full of harmony and mental clarity.

Tender lyricism and subtle spirituality distinguish one of his early works - “Madonna Conestabile” (1502, St. Petersburg, Hermitage), an enlightened image of a young mother depicted against the backdrop of a transparent Umbrian landscape. The ability to freely arrange figures in space, to connect them with each other and with the environment is also manifested in the composition “The Betrothal of Mary” (1504, Milan, Brera Gallery). The spaciousness in the construction of the landscape, the harmony of architectural forms, the balance and integrity of all parts of the composition testify to the emergence of Raphael as a master of the High Renaissance.

Upon his arrival in Florence, Raphael easily absorbs the most important achievements of the artists of the Florentine school with its pronounced plastic beginning and wide scope of reality.

The content of his art remains lyrical theme light mother's love, to which he attaches special significance. She receives more mature expression in such works as “Madonna in the Greens” (1505, Vienna, Kunsthistorisches Museum), “Madonna with the Goldfinch” (Florence, Uffizi), “The Beautiful Gardener” (1507, Paris, Louvre). Essentially, they all vary the same type of composition, composed of the figures of Mary, the infant Christ and the Baptist, forming against a beautiful background rural landscape pyramidal groups in the spirit of compositional techniques found earlier by Leonardo. Naturalness of movements, soft plasticity of forms, smoothness of melodious lines, beauty ideal type Madonnas, clarity and purity of landscape backgrounds help to reveal the sublime poetry of the figurative structure of these compositions.

In 1508, Raphael was invited to work in Rome, at the court of Pope Julius II, a powerful, ambitious and energetic man who sought to increase the artistic treasures of his capital and attract to his service the most talented cultural figures of that time. At the beginning of the 16th century, Rome inspired hopes for the national unification of the country. The ideals of a national order created the ground for creative growth, for the embodiment of advanced aspirations in art. Here, in close proximity to the heritage of antiquity, Raphael's talent blossoms and matures, acquiring new scope and traits of calm grandeur.

Raphael receives an order to paint the state rooms (the so-called stanzas) of the Vatican Palace. This work, which continued intermittently from 1509 to 1517, promoted Raphael to be one of the greatest masters of Italian monumental art, who confidently solved the problem of synthesis of Renaissance architecture and painting.

Raphael's gift as a monumentalist and decorator was revealed in all its splendor when painting the Stanzi della Segnatura (printing room).

On the long walls of this room, covered with sail vaults, the compositions “Disputation” and “School of Athens” are placed, on the narrow walls - “Parnassus” and “Wisdom, Temperance and Strength”, personifying the four areas of human spiritual activity: theology, philosophy, poetry and jurisprudence . The vault, divided into four parts, is decorated with allegorical figures that form a single decorative system with wall paintings. Thus, the entire space of the room was filled with painting.

Dispute School of Athens Adam and Eve

Combining images in paintings Christian religion and pagan mythology testified to the spread among humanists of that time of ideas of reconciliation of the Christian religion with ancient culture and about the unconditional victory of the secular over the ecclesiastical. Even in the “Disputation” (a dispute between the church fathers about communion), dedicated to the depiction of church figures, among the participants in the dispute, one can recognize the poets and artists of Italy - Dante, Fra Beato Angelico and other painters and writers. About the celebration humanistic ideas V renaissance art, its connection with antiquity is evidenced by the composition “The School of Athens”, glorifying the mind of beauty and strong man, ancient science and philosophy.

The painting is perceived as the embodiment of a dream of a bright future.

From the depths of the enfilade of grandiose arched spans emerges a group of ancient thinkers, in the center of which is the majestic gray-bearded Plato and the confident, inspired Aristotle, with a hand gesture pointing to the ground, the founders of idealistic and materialistic philosophy. Below, on the left by the stairs, Pythagoras was bending over a book, surrounded by students, on the right was Euclid, and here, at the very edge, Raphael depicted himself next to the painter Sodoma. This is a young man with a gentle, attractive face. All the characters in the fresco are united by a mood of high spiritual uplift and deep thought. They form groups that are indissoluble in their integrity and harmony, where each character precisely takes its place and where the architecture itself, in its strict regularity and majesty, helps to recreate the atmosphere of a high rise of creative thought.

The fresco “The Expulsion of Eliodorus” in Stanza d’Eliodoro stands out for its intense drama. The suddenness of the miracle taking place - the expulsion of the temple robber by the heavenly horseman - is conveyed by the rapid diagonal of the main movement, the use light effect. Pope Julius II is depicted among the spectators watching the expulsion of Eliodorus. This is an allusion to contemporary events of Raphael - the expulsion of French troops from the Papal States.

The Roman period of Raphael's work is marked high achievements and in the portrait area.

Acute portrait features acquire full of life characters from the “Mass in Bolsena” (frescoes in Stanza d’Eliodoro). Raphael also turned to the portrait genre in easel painting, showing here its originality, revealing the most characteristic and significant in the model. He painted portraits of Pope Julius II (1511, Florence, Uffizi), Pope Leo X with Cardinal Ludovico dei Rossi and Giulio dei Medici (circa 1518, ibid.) and others portrait paintings. The image of the Madonna continues to occupy an important place in his art, acquiring features of great grandeur, monumentality, confidence, and strength. Such is the “Madonna della sedia” (“Madonna in the Armchair”, 1516, Florence, Pitti Gallery) with its harmonious, closed-in-a-circle composition.

At the same time, Raphael created his greatest creation "Sistine Madonna"(1515-1519, Dresden, Picture Gallery), intended for the church of St. Sixta in Piacenza. Unlike the earlier, lighter in mood, lyrical Madonnas, this is a majestic image, full of deep meaning. The curtains pulled apart from above to the sides reveal Mary easily walking through the clouds with a baby in her arms. Her gaze allows you to look into the world of her experiences. Seriously and sadly and anxiously, she looks somewhere into the distance, as if foreseeing tragic fate son. To the left of the Madonna is Pope Sixtus, enthusiastically contemplating the miracle, to the right is Saint Barbara, reverently lowering her gaze. Below are two angels, looking up and as if returning us to the main image - the Madonna and her childishly thoughtful baby.

Impeccable harmony and dynamic balance of the composition, subtle rhythm of smooth linear outlines, naturalness and freedom of movement make up the irresistible power of this solid, beautiful image.

The truth of life and the features of the ideal are combined with the spiritual purity of the complex tragic nature Sistine Madonna. Some researchers found its prototype in the features of “The Veiled Lady” (circa 1513, Florence, Pitti Gallery), but Raphael himself, in a letter to his friend Castiglione, wrote that his creative method was based on the principle of selecting and summarizing life observations: “In order to to paint a beauty, I need to see many beauties, but due to the lack... in beautiful women I use some idea that comes to my mind.” Thus, in reality, the artist finds features that correspond to his ideal, which rises above the random and transitory.

Raphael died at the age of thirty-seven, leaving unfinished the paintings of the Villa Farnesina, the Vatican loggias and a number of other works completed from cardboards and drawings by his students. Raphael's free, graceful, relaxed drawings put their creator among the world's largest draftsmen. His work in the field of architecture and applied arts testify to him as a multi-talented figure of the High Renaissance, who gained great fame among his contemporaries. The very name of Raphael later turned into common noun the ideal artist.

Numerous Italian students and followers of Raphael raised it to an indisputable dogma creative method teachers, which contributed to the spread of imitation in Italian art and foreshadowed the brewing crisis of humanism.

Rafael Santi was born into the family of a court poet and artist, and he himself was a favorite painter of those in power, feeling easily and comfortably in secular society. Nevertheless, he was of low origin. He was an orphan from the age of 11, and his guardian spent years suing his stepmother for the family property.
The famous painter painted the “Sistine Madonna” by order of the “black monks” - the Benedictines. He created his masterpiece on a huge canvas, alone, without the participation of students or assistants.
The art historian Vasari, followed by other biographers of Raphael, say that the baker’s daughter Margherita Luti, known as Fornarina, is embodied in the features of many “Madonnas”. Some consider her a calculating libertine, others - an honest lover, because of whom the artist even refused to marry a woman of noble origin. But many art critics believe that all this is a romantic myth about love, and no one knows Raphael’s true relationships with women.
The artist’s painting, entitled “Fornarina,” depicting a semi-nude model, became the object of passionate discussions among doctors. A bluish spot on the model's chest led to speculation that the model had cancer.
The same Vasari reports gossip that, being a papal painter, the artist did not really believe in God or the devil. This is unlikely, although the statement of one of the popes of that time is quite well known: “How much profit this fairy tale about Christ has brought us!”

Bibliography

Toynes Christophe. Raphael. Taschen. 2005
Makhov A. Rafael. Young guard. 2011. (Life of wonderful people)
Eliasberg N. E. Raphael. - M.: Art, 1961. - 56, p. - 20,000 copies. (region)
Stam S. M. Florentine Madonnas of Raphael: (Ideological issues). - Saratov: Saratov University Publishing House, 1982. - 80 p. - 60,000 copies.

When writing this article, materials from the following sites were used:citaty.su ,

If you find any inaccuracies or would like to add to this article, please send us information to email address admin@site, we and our readers will be very grateful to you.

Raphael Santi was born in the city of Urbino in 1483, on April 6. His interest in painting began quite early. His father Giovanni Santi worked as a court painter for the Duke of Urbino, Federigo da Montefeltro. During the time that Raphael was with his father, he had the opportunity to study the basics of painting. At the age of 8, Rafael lost his mother, and at 11, his father. Thanks to the care of the stepmother and a sufficient amount Money, which remained after the death of his father, the master never fought for his worthy existence. In addition, he was friends with Italian masters that time. Through these connections, Rafael was able to become quite successful in his career quite early on.

His father, while he was still alive, apparently managed to provide training for the young master. In 1500, Raphael became a student of Pietro Perugino, who was a successful artist in the city of Perugia. Within four years, Raphael had mastered Perugino's technique so well that it became almost impossible to distinguish between their works. By December of the same year, Raphael had earned the title of master from some quarters. His first famous work there was an altarpiece for a church that was halfway between the city of his birth and Perugia. He was assisted by his senior comrade Evangelista Pian di Meleto. The artist worked on many other projects with Raphael's father. The young master continued to work as an assistant to Perugino until he moved to Florence.

In Florence it became obvious to him that his style needed some changes, given the latest innovative styles of Leonardo da Vinci and Michelangelo. However, the artist who influenced him greatest influence, undoubtedly remained the same. His influence can be seen in Raphael's painting The Sistine Madonna. However, although he adopted the styles of various masters of the time, he continued to use his own unique style. A work in which one could already see more of the style characteristic of Raphael - “The Beautiful Gardener” (La Belle Jardinire) or “Madonna and Child with John the Baptist,” as it is also called.

In 1508, Raphael moved to work for the Vatican in Rome. He lived the rest of his life here. His influential family connections also played a huge role in his invitation to the Vatican. With the assistance of his uncle Donato Bramante (a famous architect and painter of the time), Rafael Santi became the official artist of the papal court. He, at the invitation of Pope Julius II, arrives to carry out the order to paint frescoes of the Stanza della Segnatura, first of Michelangelo, who receives official invitation a few months later. Raphael's first commissioned work in Rome was his largest and highest paying commission ever. He was to paint frescoes in what was to become the library of Julius II in the Vatican Palace. There were already similar works in different rooms, but they were mostly painted over, as they were ordered by the predecessor and worst enemy Pope Julius II Rodrigo Borgia by Pope Alexander VI. The works of Raphael in this room were one of best works artist. These include Parnassus, School of Athens, Disputa, Virtues and Law.

In order to write these famous works, he had to paint over some other work. However, Pope Julius II decided that these works were less important. After completing the work in the first room, Pope Julius II was very impressed and decided to commission the artist to paint in another room for further work. The second room in which Raphael worked is called Stanza d'Eliodoro. In this room, Raphael mainly focuses on God's protection of human activity. The influence of Michelangelo is clearly visible in these works. However, as has been the case throughout his career, the artist manages to use his own style, while still using many techniques from other masters. At one time, Michelangelo was quite annoyed unique skill Raphael quickly adopted the techniques of other artists. He even accused the artist of plagiarism.

While Raphael was working on the second hall, Pope Julius II died. However, this did not affect his work in any way. The next Pope Leo X was also delighted with Raphael's skill and supported the continuation of the painting. In addition, his complex network of friends played a significant role in providing the artist with orders, in such quantities that he would probably never be left without work. Rafael Santi continued to work on the project, but already played a smaller role in it. To complete it, he began to send a team of his assistants. His large and complex works for him, Leonardo da Vinci, and Michelangelo came to define the century in which they lived.

At the end of his life, Raphael continued to receive a salary from the Vatican. However, he also received numerous other orders. His most notable projects outside the Vatican are a series of altarpieces and Roman Madonnas. These works demonstrate an evolution in Raphael's style. In fact, he continued to develop until his death. In addition, he made a series of portraits. Among them are portraits of Pope Julius II and his successor.

His studio has been described as one of the largest ever owned by a craftsman. Undoubtedly, he adopted much of the experience of running a workshop from his father. Unlike the workshop organized by Michelangelo, Raphael's workshop worked more quickly and productively.

The artist managed not only to organize a whole subcontract of craftsmen and their assistants, but also to maintain good working relationships with all of them. His workshop was credited with developing the talent of some of greatest masters that time.

When Bramante died, Raphael was appointed chief architect of St. Peter's Basilica. In 1515 he also received the position of chief custodian of antiquities. Most of his works were subsequently demolished as they were, to some extent, gloomy. However, some of his works as an architect are still preserved in Rome.

Raphael often drew pictures, sometimes using a silver tip. A drawing made in this way is initially bluish-gray in color. Gradually, after oxidation, it acquires a brownish tint. As can be seen from his numerous drawings, he was a very innovative artist. Raphael never made copies of his works, but willingly collaborated with other artists and allowed them to use his sketches to create engravings.

The artist has never been married. For some time he was infatuated with Margherita Luti (Fornarina - baker), the daughter of a rich baker.

According to one version, numerous noisy games with his mistresses led to his premature death at thirty-seven years old. But still, this version is the subject of serious controversy. According to another version, he fell ill after having sex with Fornarina. But if we take into account the large amount of work that the artist performed, the morals of those times, general state the health of the population of that century and the fact that then people generally did not live long, it can be assumed that all this together, in general, could have been the cause of Raphael’s early death. In any case, after so many hundreds of years since his death, one can now only speculate about its cause, since some biographical facts remain unknown, and instead of them many conjectures, rumors, fantasies and conjectures have appeared. The artist bequeathed his considerable fortune to Margarita Luti, friends and students. After his death, Raphael was buried in the Pantheon, at his own request.

Without a doubt, Raphael is one of the leading artists of the Renaissance. Together with Titian, Donatello, Leonardo da Vinci, Michelangelo, Shakespeare, and a small group of contemporaries, Raphael became the center of a movement of artistic figures who enriched not only Western but also world culture with their masterpieces.

"Sistine Madonna". The painting measures 196 cm x 265 cm and was done in oil on canvas in 1514. Located in the Old Masters Gallery, Dresden, Germany.

“The Beautiful Gardener” (Madonna with Child and John the Baptist), measuring 80 cm. 122 cm. Made in oil on panel around 1507. Located in the Louvre, Paris.

"Madonna and the Goldfinch." The painting measures 77 cm x 107 cm and was done in oil on panel in 1506. Located in the Uffizi Gallery, Florence, Italy.

"Madonna in Green" (Belvedere Madonna). The painting measures 88 cm x 113 cm and was done in oil on panel in 1506. Located in the Kunsthistorisches Museum, Vienna, Austria.

"Madonna Conestabile". The painting measures 18 cm x 17.5 cm, made in oil in 1504, transferred from wood to canvas. Is in State Hermitage, in St. Petersburg.

"Madonna in a Chair" The painting measures 71 cm x 71 cm and was done in oil in 1514. Located in Palazzo Pitti, Florence, Italy.

"Madonna Granduca" The painting measures 55.9 cm x 84.4 cm and was done in oil on panel in 1504. Located in the Palatine Gallery of Palazzo Pitti, Florence.

"Madonna Alba". The painting is in tondo shape, measuring 94.5 cm x 94.5 cm, painted in 1511, and transferred in oil to canvas. Is in National Gallery art, in Washington, USA.

"Madonna Tempi" The painting measures 51 cm x 75 cm and was done in oil on panel in 1507. Is in art gallery"Alte Pinakothek", in Munich, Germany.

"Madonna Foligno". The painting measures 194 cm x 320 cm, made in 1512, transferred in oil to canvas. Located in the Vatican Pinacoteca.

"Three Graces". The painting measures 17 cm x 17 cm and was done in oil on panel in 1504. Located in the Condé Museum, Chantilly, France.

"Cardinal Bibbiena". The portrait measures 76 cm x 107 cm, painted in oil on panel, around 1516, located in Palazzo Pitti.

The portrait of Baldassare Castiglione (Count of Novilara, Italian writer) measures 67 cm x 82 cm, executed in oil on panel around 1515, now in the Louvre, Paris.

"Lady with a Unicorn" Female portrait measures 61 cm x 65 cm, executed in oil on panel around 1506, located in the Galleria Borghese, Rome.

"Julius II". The portrait of the 216th Pope Giuliano della Rovere measures 81 cm x 108 cm, executed in oil on panel in 1511, located in the London National Gallery, Great Britain.

"Fornarina". The portrait presumably depicts Raphael's beloved woman. Its size is 60 cm x 85 cm. It was painted in oil on panel in 1519. Located in Palazzo Barberini, Rome.

"The School of Athens". The fresco measuring 770 cm x 500 cm was painted in 1511 in Stanza della Segnatura, in the Vatican Palace (Apostolic Palace in the Vatican).