Study for an angel for the fresco: "Heliodorus chased out of the temple" (In Heliodorus' room at the Vatican palace)
Study for an angel for the fresco: "Heliodorus chased out of the temple" (In Heliodorus' room at the Vatican palace)
Study for an angel for the fresco: "Heliodorus chased out of the temple" (In Heliodorus' room at the Vatican palace)
Study for an angel for the fresco: "Heliodorus chased out of the temple" (In Heliodorus' room at the Vatican palace)
Study for an angel for the fresco: "Heliodorus chased out of the temple" (In Heliodorus' room at the Vatican palace)
Study for an angel for the fresco: "Heliodorus chased out of the temple" (In Heliodorus' room at the Vatican palace)

Engraving Study for an angel for the fresco : Heliodorus chased out of the temple - Raphael

KM006798
Modern proof printed from the original plate of the Chalcographie du Louvre on Japanese paper.
Study for an angel for the fresco: Heliodorus chased out of the temple (In Heliodorus' room at the Vatican palace)

Alphonse Alexandre Leroy, etcher and chisel engraver, was particularly keen to reproduce in...
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Sold by Réunion des Musées Nationaux

Characteristics

Delivery
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Maintenance
Eviter toute source d'humidité et de lumière directe. Ne pas plier la feuille
Printing Technique
Burin, Papier Japon
Copper plate size
37.2 x 39 cm
Art movement
16th century
Dimensions
50 x 65 cm
Engraving date
19eme s.
Size of the sheet
50 x 65 cm
Artist
Raffaello Sanzio, dit Raphaël (1483-1520)
Reference
KM006798
EAN
3336727379899
Matière de l'article
Papier hahnemühle
Package Dimensions
6.8cm x 1.1cm x 6.8cm x 1.1cm
Editor
Ateliers d'art de la Rmn-GP
Conservation museum
Paris - Chalcographie du musée du Louvre

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The work and its artist

Raffaello Sanzio, dit Raphaël (1483-1520)

Raffaello Sanzio, dit Raphaël (1483-1520)

Raffaello Santi or Sanzio, known as Raphael, a painter of the High Renaissance, is the son of the official painter of the court of the Duke of Urbino, Giovanni Santi. His style is characterized by an almost equal use of drawing and colour because, unlike many painters, he does not let one dominate the other; he is as precise in the line as in the distribution of colours as in the vanishing point.
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