Angel (fragment of the Baronci altarpiece) - Raphael
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Beschreibung
A detailed fragment from Raphael's first major commission, the Baronci altarpiece, depicting an angel with soft features and delicate light.
This image is a surviving fragment from the Baronci altarpiece, which was the first documented commission for the young Raphael. Painted when the artist was approximately seventeen years old, the work demonstrates his early mastery of form and light. The altarpiece was originally commissioned for the church of Sant'Agostino in Città di Castello, but it suffered severe damage during an earthquake in 1789. This specific section depicts the head and shoulders of an angel, showcasing the delicate modelling of the face and the soft, wavy texture of the hair.
The figure is rendered with a gentle, contemplative expression, characteristic of Raphael's early style, which was heavily influenced by his teacher, Perugino. The colour palette is dominated by the warm, earthy tones of the skin, contrasted against the deep red of the garment and the muted green of the wing. The fine detail on the neckline of the tunic indicates the artist's attention to decorative elements, even at this early stage of his career.
As a fragment, this piece offers a focused view of Raphael's technical approach to portraiture and religious iconography. The composition is balanced, with the figure turned slightly to the right, creating a sense of quiet movement. The light source is soft, allowing for subtle transitions between shadow and highlight across the cheek and neck. This print captures the texture of the original oil paint on wood, preserving the historical character of the panel. It serves as a study of the artist's development before he moved to Florence and Rome, where his style would undergo further transformation. The work remains a significant example of the transition from the Quattrocento to the High Renaissance, reflecting the technical precision and aesthetic grace that would define Raphael's later career.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Angel (fragment of the Baronci altarpiece) - Raphael
Artist Biography
Raphael
He was born in Urbino, the son of a painter. His father died when he was eleven, and by his teens he was already working in the studio of Perugino, whose smooth, symmetrical compositions gave Raphael his starting point. He surpassed Perugino quickly. He studied Leonardo's sfumato and Michelangelo's anatomical intensity and absorbed both without losing his own clarity. The Madonnas from his Florentine period (the Madonna of the Goldfinch, the Sistine Madonna) have a serene perfection that has been imitated for five hundred years and never matched.
Pope Julius II summoned him to Rome in 1508, the same year he commissioned Michelangelo for the Sistine ceiling. Raphael painted the Stanze della Segnatura: four rooms in the Vatican whose frescoes include The School of Athens, the single most famous image of classical philosophy. Plato and Aristotle walk through an ideal architecture surrounded by every major thinker of the ancient world. Raphael painted Michelangelo into the scene as Heraclitus, brooding alone on the steps. Michelangelo was furious.
He ran a large workshop that produced portraits, altarpieces, tapestry designs, and architectural plans. He was appointed architect of St Peter's Basilica. He was charming, diplomatic, and universally liked, which made Michelangelo dislike him even more.
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