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USA Oil Painting Reproduction

 
 


Painting ID::  10085
St Cecilia
1627-28 Oil on canvas, 118x88cm Museo del Prado, Madrid

Nicolas Poussin St Cecilia oil painting reproduction


   
 

 

 
   
      


Painting ID::  33603
St Cecilia
mk86 c.1627/28 Oil on canvas 118x88cm Madrid,Museo del Prado

Nicolas Poussin St Cecilia oil painting reproduction


   
 

 

 
   
      


Painting ID::  55765
St Cecilia
mk244 Oil on canvas 118x88cm

Nicolas Poussin St Cecilia oil painting reproduction


   
 

 

 
   
      


Painting ID::  63785
St Cecilia
220 x 136 cm Pinacoteca Nazionale, Bologna Raphael probably accompanied Leo X when he went to Bologna to meet the King of France, Francis I, in 1515. He may have passed through Florence, where Leo was welcomed with great enthusiasm by his fellow citizens. Leonardo da Vinci - who later accepted the French King's invitation to Paris - and Michelangelo - to whom Leo X commissioned the New Sacristy of San Lorenzo - also followed the Pope. A letter which Raphael sent to the painter, Francesco Francia, provides proof of this journey. According to a legend, Francesco Francia died after seeing the St Cecilia which Raphael painted for the Church of San Giovanni in Monte in Bologna. The story is almost credible, for the Bolognese artistic environment still revolved around the style of Perugino. The painting was commissioned by Elena Duglioli dall'Olio of Bologna. She was famous for having visions and ecstatic fits in which music played a great part, which is probably why she asked for a picture of St Cecilia, the patron saint of music. Raphael decided on a painting in the style of a Sacra Conversazione, with St Cecilia in the centre surrounded by saints. The altarpiece, which is now in the Museum of Bologna, was placed in San Giovanni in Monte in 1515. It was painted some time before, however. The glorification of purity is the central idea behind this painting. This is expressed by the figures seen on both sides of the principal figure: St John the Evangelist is the patron saint of the church, and St Paul symbolizes innocence, while St Augustine and St Mary Magdalene stand for purity regained through atonement after sinful aberration. The four saints who surround the protagonist form a niche which is strengthened by the poses and gestures of the figures (the glances of the Evangelist and St Augustine cross, St Paul's is lowered and the Magdalene turns hers toward the spectator). Only St Cecilia raises her face toward the sky, where a chorus of angels appears through a hole in the clouds. The monumentality of the figures, typical of Raphael's activity during this period, dominates the other figurative elements. In the legend of St Cecilia, too, the painter emphasizes her desire to preserve her purity. As they were escorting Cecilia to the house of her betrothed, to the accompaniment of musical instruments, in her heart she called out only to God, beseeching Him to preserve the chastity of her heart and her body. So runs the fifth-century legend, and accordingly in this picture Cecilia does not hear the profane music, her eyes raised toward the heavens connects her directly with the choir of angels. This much is in complete agreement with the story of the Roman martyr.Artist:RAFFAELLO Sanzio Title: St Cecilia Painted in 1501-1550 , Italian - - painting : religious

RAFFAELLO Sanzio St Cecilia oil painting reproduction


   
 

 

 
   
      


Painting ID::  89861
St Cecilia
1514(1514) Medium Oil transferred from panel to canvas Dimensions Width: 60 cm (23.6 in). (of detail) cjr

RAFFAELLO Sanzio St Cecilia oil painting reproduction


   
 

 

 
   
      


Painting ID::  96046
St Cecilia
between 1617(1617) and 1618(1618) Medium oil on canvas cyf

Domenichino St Cecilia oil painting reproduction


   
 

 

 
   
      

Domenichino
1581-1641 Italian Domenichino Locations Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.
St Cecilia
between 1617(1617) and 1618(1618) Medium oil on canvas cyf

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