+ 1 (707) 877-4321
+ 33 977-198-888
English
Français
Deutsch
Italiano
Español
Русский
中国
Português
日本

Madonna of the Cloth, Oil by Raphael - Raffaello Sanzio (1483-1520, Italy) (buy Framed Print/order Framed Giclee/order Print on canvas)

Kazimir Malevich Birthday, 30% off sitewide! Valid:23/02/2017

FREE Shipping. FREE Returns All the time. See details.

 
 
af
af
af
af
pic0 pic
 
 
 
Print on textured canvas
 
 
 
Unit
 
 
 
Size

 
   9 "   
 
  Raphael - Raffaello Sanzio - Renaissance - Religious -  
11 " 
 
   
 
 
Frame

Unframed Giclee/Print - Rolled in a tube
 
 
 
 
Options
Worlwide shipping !
Average delivery time by DHL/Fedex is one week based on your location. Average delivery time by Slow post is 10-30 days. (Slow Post is available only for package less than 20 inches) We will sent you the tracking code after framing, packaging and shipping.

Textured Canvas
The brushstrokes effect is an extra feature that adds even more realism to the giclee canvas print. The result is a rich textured relief similar to the one found in the original oil painting.
Gift Service
Gift wrap + Gift card with your message. (After submitting your order, write the Gift Message trough the links sent in the order confirmation)
Have a WahooArt.com promotion code?
Enter the code below and click “OK”

Promotion: BIRTHDAY-KM activated !
 

Payment
 
 
  • Print on canvas
  • PrintsOnCanvas [{W-BRUE-5ZKEC9}]
  • Promotion(BIRTHDAY-KM)
  • Dim(9 x 11 inches (23 x 28 cm))
  • Shipping(Slow)
  • Textured
  • Raphael - Raffaello Sanzio-Madonna of the Cloth
  • Promotion: -7USD
  • Slow - 10-30 Days - Free
  • Textured Canvas [5 USD]
  • Total: 22 USD

 

22 USDView Cart

 

 

Paypal Skrill


 

Send by Email
 
 
  
 
 
 
For any information please contact us on contact@WahooArt.com
 
 
Print on textured canvas
WahooArt use the latest printing technology to produce archival-quality textured cotton canvas prints that will give pleasure on your wall for a long time to come. Textured print gives to your painting reproduction a brushstroke/texture effect, which gives incredible look of a real oil canvas masterpiece.
WahooArt.com use only the most modern and efficient printing technology on our 100% cotton canvas 400Gsm, based on the Giclee printing procedure. This innovative high-resolution printing technique results in durable and spectacular looking prints of the highest quality. WahooArt.com only uses the highest quality inks, with extreme UV resistance. Your artwork will hold its beautiful colors for up to 75 years!
Textured print perfectly suits for Fine Art reproductions! WahooArt Team suggest to orderacrylic print for colorful,familly and modernphotos.

- FAQ 1/2
- FAQ 2/2
- Giclée print of your own

 Raphael
Raphael is another of those enigmatic Renaissance painters that only needs a first name to know who one talking about. If Michelangelo or Leonardo is brought up in conversation as if speaking about an old friend, we know that it is the Italian Renaissance Masters that are being spoken about. The same is true of Raphael, who is sometimes given a back seat to the two giants, but is no less of an artist. Whereas Leonardo Da Vinci’s works can be painted in mostly dark tones, Raphael’s are light, bright and airy.

Italian in full RAFFAELLO SANZIO (b. April 6, 1483, Urbino, Duchy of Urbino --d. April 6, 1520, Rome, Papal States ), master painter and architect of the Italian High Renaissance. Raphael is best known for his Madonnas and for his large figure compositions in the Vatican in Rome. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur.


Influences on Raphael

After the complexities of Leonardo and Michelangelo, it is a relief to find Raphael (Raffaello Sanzio, 1483-1520), a genius no less than they, but one whose daily ways were those of other men. He was born in the small town of Urbino, an artistic centre, and received his earliest training from his father. Later, his father sent him to Pietro Perugino (active 1478-1523) who, like Verrocchio and Ghirlandaio, was an artist of considerable gifts. But while Leonardo and Michelangelo quickly outgrew their teachers and show no later trace of influence, Raphael had a precocious talent right from the beginning and was an innate absorber of influences. Whatever he saw, he took possession of, always growing by what was taught to him. An early Raphael can look like a Perugino. In fact, Perugino's Crucifixion with the Virgin, St John, St Jerome, and St Mary Magdalene was thought to be by Raphael until evidence proved it was given to the church of San Gimigniano in 1497, when Raphael was only 14. It is undoubtedly a Perugino, calmly emotional, and pious rather than passionate. A fascinating context for this scene of quiet faith is the notorious unbelief on the part of the artist, who was described by Vasari as an atheist. He painted what would be acceptable, not what he felt to be true, and this may account for the lack of real emotive impact.

 

Early Raphael

There are still echoes of the gentle Perugino in an early Raphael like the diminutive St George and the Dragon, painted when he was in his early twenties; the little praying princess is very Peruginesque. But there is a fire in the knight and his intelligent horse, and a nasty vigour in the convincing dragon that would always be beyond Perugino's skill. Even the horse's tail is electric, and the saint's mantle flies wide as he speeds to the kill.


Raphael spent his first sojourn in Florence (1504-08) to sublime purpose. At that time Leonardo and Michelangelo were both working there, and as a result Raphael adopted new working methods and techniques--particularly influenced by Leonardo--and his paintings took on a more vigorous graphic energy. We may think we see a hint of what he took from Leonardo in a work like the Small Cowper Madonna, with its softness of contour and perfection of balance. Both faces, the Virgin's almost smiling, almost praying, wholly wrapped up in her Child, and that of the Child, wholly at ease with His Mother, dreamily looking out at us with abstracted sweetness, have that inwardness we see in Leonardo, but made firm and unproblematic. Behind the seated figures we see a tranquil rural landscape with a church perched on a hill.


Raphael's later work

Raphael returned to the subject of the Madonna and Child several times, each time in an intimate, gentle composition. The Alba Madonna, on the other hand, has a Michelangelic heroism about it; tender as always in Raphael, but also heavy; masses wonderfully composed in tondo form; a crescendo of emotion that finds its fulfilment in the watchful face of Mary. The world stretches away on either side, centered on this trinity of figures, and the movement sweeps graciously onwards until it reaches the furthest fold of Mary's cloaked elbow. Then it floods back, with her bodily inclination towards the left, and the meaning is perfectly contained: love is never stationary, it is given and returned.

Raphael's life was short, but while he lived he was one of those geniuses who continually evolve and develop. He had an extraordinary capacity (like, though greater than, Picasso's) to respond to every movement in the art world, and to subsume it within his own work.


Since Vasari described the picture commissioned by Bindo Altoviti as ``his portrait when young'', historians have liked to think that this radiant youth was Raphael himself. He was indeed said to be unusually handsome, pensive, and fair, which is exactly what this portrait shows to us. But it is now agreed that it is Bindo when young, and since he was at this time a mere 22 (and Raphael 33, with only five years left to him), this is not an ``imagined'' youth but the real boy who takes up so self-conscious a stance before the painter.

Raphael is one of the most acute of all portraitists, effortlessly cleaving through the external defences of his sitter, yet courteously colluding with whatever image the ego would seek to have portrayed. This duality, looking beneath the surface and yet remaining wholly respectful of the surface, gives an additional layer of meaning to all his portraits. We see, and we know things that we do not see; we are helped to encounter rather than to evaluate.

Bindo Altoviti was beautiful, successful (as a banker), and rich: rather like Raphael himself. There may have been some feeling of fellowship in the work, as the noble countenance is sensitively fleshed out for us. Half the face is in shadow, as if to allow the sitter his mystery, his maturing, his private destiny. The lips are full and sensual, balanced by the deep-set eyes with their confrontational stare, almost defiant. The ruffled shirt is half-covered by the young man's locks, calculatedly casual, at odds in their dandyish profusion with the plain beret and the rich but simple doublet. He holds a darkened hand dramatically to his breast, maybe to show off the ring, maybe to indicate psychic ease.

But Raphael has not given him the real world for his setting. Bindo Aldoviti stands in a nowhere place of luminous green, outside the scope of time in his eternal youth, fearless because he is protected by art from human incertainties.

There is an aptness in the areas of darkness in which the great doublet sleeve loses itself. For all his debonaire poise, this is a young man threatened. For the viewer who knows how short Raphael's own life was to be, the thought that this might be a self-portrait is seductively plausible. There is a sense in which every portrait is one of the self, since we never escape our own life enough to see with divine vision what is objectively there: this shows us both men, painter and banker, ``when young''.

Raphael is out of favour today; his work seems too perfect, too faultless for our slipshod age. Yet these great icons of human beauty can never fail to stir us: his Vatican murals can stand fearlessly beside the Sistine ceiling. The School of Athens, for example, monumentally immortalizing the great philosophers, is unrivalled in its classic grace. Raphael's huge influence on successive artists is all the more impressive considering his short life.

[Biography - Raphael - Raffaello Sanzio - 9Ko]
Raffaello Sanzio, plus connu sous le nom de Raphaël (Raffaello), (né le 6 avril 1483 à Urbin - mort le 6 avril 1520 à Rome) est un peintre et architecte italien de la Renaissance. Il est aussi appelé Raffaello Santi, Raffaello da Urbino, Raffaello Sanzio da Urbino. Biographie Raffaello Sanzio ou Santi, dit Raphaël, peintre italien de la Haute Renai...
[Biography - Raphael - Raffaello Sanzio - 8Ko]
Peu d'artistes ont autant écrit sur leur art que Delacroix. Il ya bien sûr son Journal qui révèle l'énergie qu'il mit jusqu'à la fin, à approfondir sa connaissance des grands maîtres, mais il a également publié dans les grandes revues parisiennes une série de textes sur Raphaël, Michel-Ange, Poussin, Puget et certains de ses contemporains, Gros, Ch...
 

EMAIL- EMAIL- EMAIL- EMAIL- EMAIL- EMAIL
WahooArt.com
Arts & Entertainment > Hobbies & Creative Arts > Artwork
W-BRUE-5ZKEC9-PrintsOnCanvas-9x11inches--EN-USD
PrintsOnCanvas [{W-BRUE-5ZKEC9}]-Promotion(BIRTHDAY-KM)-Dim(9 x 11 inches (23 x 28 cm))-Shipping(Slow)-Textured-Raphael - Raffaello Sanzio-Madonna of the Cloth
/A55A04/w.nsf/O/BRUE-5ZKEC9/$File/Raphael+-+Raffaello+Sanzio+-+Madonna+of+the+Cloth+.JPG
Madonna of the Cloth (158 cm × 125 cm) is an oil on wood painting by the Italian High Renaissance painter Raphael. It is now at the Palazzo Pitti, Florence.
Raphael - Raffaello Sanzio
Oil
Oil
22
USD
New
In stock