Sketches and studies are the richest evidence for the artistic in craft-dominated processes required to turn those into a painting.
Beards on Father Time, river gods, God the Father, ancient mariners, and lots and lots of artists, especially the Nabis.
A brief overview of his career, with some of his finest paintings, and links to more detailed accounts.
An architect, a sculptor and painter, and a young painter. Add a Pope who wants to be remembered, and this is what happens.
Eight large frescoes in a style which assimilated what Raphael saw in Michelangelo’s Sistine Chapel, and an arch of sibyls.
At the time, Raphael was recognised as one of the most important artists in the whole Renaissance. Here’s his starting point, set by Giorgione, Perugino and others.
From fresco to varnish: a succinct summary of all the different media which have been used in painting, with links to more detailed articles.
Never shown to the public in traditional paintings, a vital layer which goes between paint and the support. White, colour, chalk or oil.
Two final paintings, his striking portrait of Saint John the Baptist, and the highly controversial ‘Salvator Mundi’, the most expensive painting in the world.
In the Renaissance, while oil painting was still catching on, many of the greatest masterpieces were painted in egg tempera. How, and to what effect?