Raphael (artist)

It is 770 cm wide at the base.

Michelangelo.

They were both working for Pope Julius II in the early part of the 1500s. Both suspected that the other was the pope's favorite and was given the better jobs.

They are the three leading artists of the High Renaissance.,

Using different poses for different subjects.

triangle. The figures of the Madonna, Christ, and John the Baptist form a triangular composition, drawing the viewer's eye towards the center of the painting. This triangular structure creates stability and balance in the artwork.

Raphael the mdonna of the meadows is composed using the implied shape of a?

The pursuit of knowledge by all humans is important and live life to the fullest you can

a vision of beauty

he was able to bring out each sitter's personality

Because of his greatly masterpieces of art from the renaissance era and for painting parts of St. Peter's Basilica. Look up "Raphael Rooms" for more knowledge.

Perhaps it is interesting to know that there are 28 paintings of Madonna and Clhild bt Raphael in existence. So talking about "this painting" is slightly misleading.

Raphael was on the same level as Michelangelo and da Vinci during the High Italian Renaissance. Not only did these 3 artists inspire the Teenage Mutant Ninja Turtles, but their works are used daily in art classes the world over to inspire art students.

The fame of this painting relies on the fame of the artist, since his 'Madonna and Child' is far down the list of his best known works. The image has been reproduced in many forms, and so it is well known to many people.

Raphael Adolini was an Italian born Moroccan raised Barbary pirate. One of the most feared of his day but because of the mysterious disappearance him and his whole crew in the height of his career, others like Blackbeard have been remembered with more notoriety. His ship, the "Muerte Negra," was feared especially because unlike many ships which flew the Jolly Roger, Adolini's ship flew a red flag, the "jolie rouge," which signaled to its captives death to all. The phrase "dead men tell no tales," has been ascribed to Adolini. It was carved above his cabin door, when his ship was found floating vacant east of the Burmuda Triangle in 1718, The flintlock pistol rumored to have been one of Adolini's favorite prizes was taken from Ivar the Boneless after Adolini attacked and plundered the ship of the Viking pirate in April of 1715.

I can only assume that the authors knew this obscure piece of pirate history and used the timing to their advantage. Although what happened to Adolini it is not stated in either the novels or the movies, in the Dark Horse comic series "Predator 1718" Adolini gives the pistol to the Predator for saving his life from his mutinist crew.

Hope this helps.

Painting a fully lit red brick wall with no major areas of cast shadow: Burnt Sienna, cad yellow, cad red, burnt umber, yellow ochre and white. 1/4 to 1" bristle and sable bright brushes First: assume the since a real wall's surface is handmade, ergo irregular, both as individual units (bricks) and as finaished surface (wall)its color will therefore be irregular and varied as a color "field" because each brick is slightly different and the light will strike the wall unevenly. This is good news! It saves you from the tedium of "getting it just right." Choose the direction from with light falls across the brick wall, lets say from up left at about 10 o'clock high, so to speak. Now paint the entire wall as a single midtone, brick color without trying to make the color uniformly mixed. Onto this "mass tone" loosely brush in more irregularities of lighter (tending to the yellows) and darker tones (tending to the umbers). DO NOT BEGIN BY TRYING TO PAINT INDIVIDUAL BRICKS. Try to paint what you would see if you squinted just enough to be unable to see the mortar. Make the wall slightly darker in its mass tones as it draws closer to the side where the light is closest (the upper left wall) and slightly lighter on the side away from the light (lower right.) Now use the sable brush, a 1/2 or 1" is fine. Make a puddle of ochre, white and umber lighter than your brick mass tones, but now so light it looks white on the canvas. With the widest surface of the brush flat on the palette draw the brush TOWARD you through the paint repeatedly, one side then the other creating a flat, sharp chisel shape. Touch the brush lightly which will make a this straight line the width of your brush (a 1" brush will leave a 1" line), a light pressure will leave a five mark. Lift the brush, move to the end of the first mark and lightly touch again. You will now have a 2" line. Repeat, frequently wiping and re-loading the brush in the described way. Make groups of parallel mortar lines. Its not important to make them all. Youre trying to get the viewer to have a 'Hey, look, its mortar! reaction, not- geese look at all those fat lines) Make a few tiny vertical "lines" of mortar color here and there, always alternating so that each vertical line splits one brick and bumps the middle of the brick below and above it. After the first application sets you can rework the entire process with more limited applications, perhaps adding an occasional fleck of lights and darks to individual bricks (lights on the upper left which hangs out from the mortar to reach the light and darks on the lower right which is shaded by the opposite effect.) Just remember, unevenness is the nature of the real thing so don't try to be precise. JGrant Painting a fully lit red brick wall with no major areas of cast shadow: Burnt Sienna, cad yellow, cad red, burnt umber, yellow ochre and white. 1/4 to 1" bristle and sable bright brushes First: assume the since a real wall's surface is handmade, ergo irregular, both as individual units (bricks) and as finaished surface (wall)its color will therefore be irregular and varied as a color "field" because each brick is slightly different and the light will strike the wall unevenly. This is good news! It saves you from the tedium of "getting it just right." Choose the direction from with light falls across the brick wall, lets say from up left at about 10 o'clock high, so to speak. Now paint the entire wall as a single midtone, brick color without trying to make the color uniformly mixed. Onto this "mass tone" loosely brush in more irregularities of lighter (tending to the yellows) and darker tones (tending to the umbers). DO NOT BEGIN BY TRYING TO PAINT INDIVIDUAL BRICKS. Try to paint what you would see if you squinted just enough to be unable to see the mortar. Make the wall slightly darker in its mass tones as it draws closer to the side where the light is closest (the upper left wall) and slightly lighter on the side away from the light (lower right.) Now use the sable brush, a 1/2 or 1" is fine. Make a puddle of ochre, white and umber lighter than your brick mass tones, but now so light it looks white on the canvas. With the widest surface of the brush flat on the palette draw the brush TOWARD you through the paint repeatedly, one side then the other creating a flat, sharp chisel shape. Touch the brush lightly which will make a this straight line the width of your brush (a 1" brush will leave a 1" line), a light pressure will leave a five mark. Lift the brush, move to the end of the first mark and lightly touch again. You will now have a 2" line. Repeat, frequently wiping and re-loading the brush in the described way. Make groups of parallel mortar lines. Its not important to make them all. Youre trying to get the viewer to have a 'Hey, look, its mortar! reaction, not- geese look at all those fat lines) Make a few tiny vertical "lines" of mortar color here and there, always alternating so that each vertical line splits one brick and bumps the middle of the brick below and above it. After the first application sets you can rework the entire process with more limited applications, perhaps adding an occasional fleck of lights and darks to individual bricks (lights on the upper left which hangs out from the mortar to reach the light and darks on the lower right which is shaded by the opposite effect.) Just remember, unevenness is the nature of the real thing so don't try to be precise. JGrant Painting a fully lit red brick wall with no major areas of cast shadow: Burnt Sienna, cad yellow, cad red, burnt umber, yellow ochre and white. 1/4 to 1" bristle and sable bright brushes First: assume the since a real wall's surface is handmade, ergo irregular, both as individual units (bricks) and as finaished surface (wall)its color will therefore be irregular and varied as a color "field" because each brick is slightly different and the light will strike the wall unevenly. This is good news! It saves you from the tedium of "getting it just right." Choose the direction from with light falls across the brick wall, lets say from up left at about 10 o'clock high, so to speak. Now paint the entire wall as a single midtone, brick color without trying to make the color uniformly mixed. Onto this "mass tone" loosely brush in more irregularities of lighter (tending to the yellows) and darker tones (tending to the umbers). DO NOT BEGIN BY TRYING TO PAINT INDIVIDUAL BRICKS. Try to paint what you would see if you squinted just enough to be unable to see the mortar. Make the wall slightly darker in its mass tones as it draws closer to the side where the light is closest (the upper left wall) and slightly lighter on the side away from the light (lower right.) Now use the sable brush, a 1/2 or 1" is fine. Make a puddle of ochre, white and umber lighter than your brick mass tones, but now so light it looks white on the canvas. With the widest surface of the brush flat on the palette draw the brush TOWARD you through the paint repeatedly, one side then the other creating a flat, sharp chisel shape. Touch the brush lightly which will make a this straight line the width of your brush (a 1" brush will leave a 1" line), a light pressure will leave a five mark. Lift the brush, move to the end of the first mark and lightly touch again. You will now have a 2" line. Repeat, frequently wiping and re-loading the brush in the described way. Make groups of parallel mortar lines. Its not important to make them all. Youre trying to get the viewer to have a 'Hey, look, its mortar! reaction, not- geese look at all those fat lines) Make a few tiny vertical "lines" of mortar color here and there, always alternating so that each vertical line splits one brick and bumps the middle of the brick below and above it. After the first application sets you can rework the entire process with more limited applications, perhaps adding an occasional fleck of lights and darks to individual bricks (lights on the upper left which hangs out from the mortar to reach the light and darks on the lower right which is shaded by the opposite effect.) Just remember, unevenness is the nature of the real thing so don't try to be precise. JGrant

helllooo

Raphael painted the murals in a series of rooms (the Stanze) in the Vatican.

Michelangelo painted the ceiling of the Sistine Chapel, also in the Vatican.

all the most known paintings and the real ones are in the louvre of france i went to it it is amazing

Italian High Renaissance.

The 4-part fresco was created between 1513 - 1514.

Raphael was known to have had many affairs with woman. He was publicly engaged to Mari Bibbiena. But he never married her due to the early death at age 37. He may have been secretly married to Margherita Luti due to some facts on the paintings "The Veiled Lady". He died from overwork and affairs. He had a fever and was given the wrong cure. He died by his unfinished work the Transfiguration.

The upper part The Transfiguration of Jesus is an event reported by three of the Gospels in which Jesus is transfigured upon a mountain (one is Matthew 17: 1-9). Jesus became radiant, spoke with Moses and Elijah, and was called "Son" by God. Peter, James and John were with Jesus upon the mountain. The transfiguration put Jesus above Moses and Elijah, the two preeminent figures of Judaism.

The lower part is a different scene from the Bible, in which the disciples fail to cure a sick boy.

i have been looking at all of raphael's paintings and the most occurring color is brown. :/

Raphael did not paint this subject, nor did he make any prints.

At the time there were no awards in our sense of the word.