RAFFAELLO Sanzio (1483, Urbino, d. 1520, Roma) Crucifixion (retable de Città di Castello) 1502-03 huile sur bois, 281 x 165 cm National Gallery, Londres la présence de motifs péruginesques dans l'œuvre de Raphaël est encore assez évidente dans la Crucifixion de 1502-1503, maintenant à la National Gallery de Londres. Cette peinture, montrant le Christ crucifié avec la Vierge, Saint Jérôme, Marie-Madeleine et Jean l'évangéliste, formait à l'origine la partie centrale d'un retable commandé pour l'église de San Domenico in Città di Castello. C’est la première œuvre que Raphaël signe. La signature, 'peint

• Contributeur: Carlo Bollo / Alamy Banque D'Images
• ID de l’image: 2X3PWF5
• Taille du fichier: 43,2 MB (1,1 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 3000 x 5028 px | 25,4 x 42,6 cm | 10 x 16,8 inches | 300dpi

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RAFFAELLO Sanzio (b. 1483, Urbino, d. 1520, Roma) Crucifixion (Città di Castello Altarpiece) 1502-03 Oil on wood, 281 x 165 cm National Gallery, London The presence of Peruginesque motifs in Raphael's work is still quite evident in the Crucifixion of 1502-1503, now in the National Gallery in London. This painting, showing the crucified Christ with the Virgin, St Jerome, Mary Magdalene, and John the Evangelist, originally formed the central part of an altarpiece commissioned for the Church of San Domenico in Città di Castello. It is the first work that Raphael signed. The signature, "Painted by Raphael of Urbino, " documents his full artistic autonomy and indicates his background. The composition derives from other panels on the same subject painted by Perugino; for example, the imposing Chigi Altarpiece for Sant'Agostino in Siena. But the rigorous correspondences of gesture that distinguish Raphael's figures from the sentimental and obvious poses of the master, clearly set the young pupil apart. The faces are treated with a subtler chiaroscuro and the volumes are, as a result, more slender than those of Perugino. Thus Raphael - even though he is unwilling and, perhaps, unable to break away from Perugino's influence - shows his true temperament in this painting. This temperament includes an extraordinary feeling for proportion and an acute visual sensibility. It is even more evident in the two predella compartments - one in the Cook Collection in Richmond and the other in the Lisbon Gallery - with Stories from the Life of St Jerome. --- Keywords: -------------- Author: RAFFAELLO Sanzio Title: Crucifixion (Città di Castello Altarpiece) Time-line: 1501-1550 School: Italian Form: painting Type: religious

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