Art in Detail:Famous Paintings of Angels

Famous Paintings of Angels

2. From the famous cherubs of Raphael to the angels of Chagall,
artists have imagined and depicted angels in unique ways
throughout history....

3. Art in Detail
Famous Paintings of Angels

5. RAFFAELLO Sanzio
The Sistine Madonna
1513-14
Oil on canvas, 270 x 201 cm
Gemäldegalerie, Dresden

6. RAFFAELLO Sanzio
The Sistine Madonna (detail)
1513-14
Oil on canvas
Gemäldegalerie, Dresden

7. RAFFAELLO Sanzio
The Sistine Madonna (detail)
1513-14
Oil on canvas
Gemäldegalerie, Dresden

8. RAFFAELLO Sanzio
The Sistine Madonna (detail)
1513-14
Oil on canvas
Gemäldegalerie, Dresden

9. RAFFAELLO Sanzio
The Sistine Madonna (detail)
1513-14
Oil on canvas
Gemäldegalerie, Dresden

10. RAFFAELLO Sanzio
The Sistine Madonna (detail)
1513-14
Oil on canvas
Gemäldegalerie, Dresden

12. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
1562
Oil on oak, 117 x 162 cm
Musées Royaux des Beaux-Arts,
Brussels

13. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
(detail)
1562
Oil on oak
Musées Royaux des Beaux-Arts,
Brussels

14. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
(detail)
1562
Oil on oak
Musées Royaux des Beaux-Arts,
Brussels

15. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
(detail)
1562
Oil on oak
Musées Royaux des Beaux-Arts,
Brussels

16. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
(detail)
1562
Oil on oak
Musées Royaux des Beaux-Arts,
Brussels

17. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
(detail)
1562
Oil on oak
Musées Royaux des Beaux-Arts,
Brussels

18. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
(detail)
1562
Oil on oak
Musées Royaux des Beaux-Arts,
Brussels

20. GIOTTO di Bondone
Ognissanti Madonna (Madonna in
Maestà)
1306 - 1310
Tempera on wood, 325 x 204 cm
Galleria degli Uffizi, Florence

21. GIOTTO di Bondone
Ognissanti Madonna (Madonna in
Maestà) (detail)
1306 - 1310
Tempera on wood, 325 x 204 cm
Galleria degli Uffizi, Florence

22. GIOTTO di Bondone
Ognissanti Madonna (Madonna in
Maestà) (detail)
1306 - 1310
Tempera on wood, 325 x 204 cm
Galleria degli Uffizi, Florence

23. GIOTTO di Bondone
Ognissanti Madonna (Madonna in
Maestà) (detail)
1306 - 1310
Tempera on wood, 325 x 204 cm
Galleria degli Uffizi, Florence

24. GIOTTO di Bondone
Ognissanti Madonna (Madonna in
Maestà) (detail)
1306 - 1310
Tempera on wood, 325 x 204 cm
Galleria degli Uffizi, Florence

25. GIOTTO di Bondone
Ognissanti Madonna (Madonna in
Maestà) (detail)
1306 - 1310
Tempera on wood, 325 x 204 cm
Galleria degli Uffizi, Florence

27. LEONARDO da Vinci
Annunciation
1472-75
Tempera on wood, 98 x 217 cm
Galleria degli Uffizi, Florence

28. LEONARDO da Vinci
Annunciation (detail)
1472-75
Tempera on wood, 98 x 217 cm
Galleria degli Uffizi, Florence

29. LEONARDO da Vinci
Annunciation (detail)
1472-75
Tempera on wood, 98 x 217 cm
Galleria degli Uffizi, Florence

30. LEONARDO da Vinci
Annunciation (detail)
1472-75
Tempera on wood, 98 x 217 cm
Galleria degli Uffizi, Florence

31. LEONARDO da Vinci
Annunciation (detail)
1472-75
Tempera on wood, 98 x 217 cm
Galleria degli Uffizi, Florence

33. GOES, Hugo van der
The Adoration of the Shepherds
1476-79
Oil on wood, 253 x 304 cm
Galleria degli Uffizi, Florence

34. GOES, Hugo van der
The Adoration of the Shepherds
(detail)
1476-79
Oil on wood, 253 x 304 cm
Galleria degli Uffizi, Florence

35. GOES, Hugo van der
The Adoration of the Shepherds
(detail)
1476-79
Oil on wood, 253 x 304 cm
Galleria degli Uffizi, Florence

36. GOES, Hugo van der
The Adoration of the Shepherds
(detail)
1476-79
Oil on wood, 253 x 304 cm
Galleria degli Uffizi, Florence

37. GOES, Hugo van der
The Adoration of the Shepherds
(detail)
1476-79
Oil on wood, 253 x 304 cm
Galleria degli Uffizi, Florence

38. GOES, Hugo van der
The Adoration of the Shepherds
(detail)
1476-79
Oil on wood, 253 x 304 cm
Galleria degli Uffizi, Florence

39. GOES, Hugo van der
The Adoration of the Shepherds
(detail)
1476-79
Oil on wood, 253 x 304 cm
Galleria degli Uffizi, Florence

41. CARAVAGGIO
Rest on Flight to Egypt
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome

42. CARAVAGGIO
Rest on Flight to Egypt (detail)
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome

43. CARAVAGGIO
Rest on Flight to Egypt (detail)
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome

44. CARAVAGGIO
Rest on Flight to Egypt (detail)
1596-97
Oil on canvas, 133,5 x 166,5 cm
Galleria Doria Pamphilj, Rome

46. CHAGALL , Marc
Jacob’s Dream
1966
Oil on canvas, 195 x 278 cm
Musée national Message Biblique
Marc Chagall, Nice

47. CHAGALL , Marc
Jacob’s Dream (detail)
1966
Oil on canvas, 195 x 278 cm
Musée national Message Biblique
Marc Chagall, Nice

48. CHAGALL , Marc
Jacob’s Dream (detail)
1966
Oil on canvas, 195 x 278 cm
Musée national Message Biblique
Marc Chagall, Nice

49. CHAGALL , Marc
Jacob’s Dream (detail)
1966
Oil on canvas, 195 x 278 cm
Musée national Message Biblique
Marc Chagall, Nice

50. CHAGALL , Marc
Jacob’s Dream (detail)
1966
Oil on canvas, 195 x 278 cm
Musée national Message Biblique
Marc Chagall, Nice

51. CHAGALL , Marc
Jacob’s Dream (detail)
1966
Oil on canvas, 195 x 278 cm
Musée national Message Biblique
Marc Chagall, Nice

52. Art in Detail: Famous Paintings of Angels
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53. CHAGALL , Marc
Jacob’s Dream
Jacob’s ladder is the connection between the earth and the heavens that must be climbed in order to reach salvation, but angels and demons both
fight over the ascenders, trying to drag them in either direction.
Chagall’s interpretation shows joyful acrobatic angels circling the steps from as seen in a dream that he had.
The four-winged angel is a type known as a Seraphim who is amongst the highest ranked angels – here he illuminates the composition by bringing
a divine light that brightens the night-time setting of the energetic vision of the struggle between good and evil.

54. RAFFAELLO Sanzio
The Sistine Madonna
The most famous angels of our days seem to be the two winged putti below Raphael's Sistine Madonna. They are almost half a millennium old.
Their continuing success and present popularity are hard to explain. They combine the sacred with the profane, childish mischievousness with
high art. They are easily reproducible and media-friendly. And they have in turn inspired similar angel pairs.

55. BRUEGEL, Pieter the Elder
The Fall of the Rebel Angels
The Archangel Michael, portrayed in golden-brown armour in the middle of the picture, is driving the angels who have rebelled against God out
of Heaven.
The angels in white garments are fighting on his side, while those who have broken away from God are metamorphosing into the mostly naked
bodies of fantastic figures.

56. GIOTTO di Bondone
Ognissanti Madonna (Madonna in Maestà
An angel kneels at either side of the step, left and right. In one hand hold a vase containing a lily and red and white roses, the symbols of Mary's
grief and of her purity.
It’s astonishing that Giotto has lavished so much care on the beautiful faces of the angels. Every strand of curling hair, every shadow on the face,
shows Giott’s comsummate skill.

57. CARAVAGGIO
Rest on Flight to Egypt
What a daredevil Caravaggio was. You can see why he shocked people. The Christian churches in Europe were at the zenith of their power, but
Caravaggio painted a Madonna dressed in red (the colour associated with loose-living women) and slumped over in exhausted sleep (the Madonna
was usually serene and goddess-like, needing no food or sleep).
And what about Caravaggio’s Joseph, patiently holding sheets of music for a violin-playing angel? Where did that come from? Or an angel with the
grey-black and slightly sinister wings of an eagle? But what an angel! Its gold-hued flesh and the loose cloth tied around its body are radiant with
glowing light.
The sheen of its wings catches the dying light. This really is a heavenly creature.

58. LEONARDO da Vinci
Annunciation
The Angel Gabriel in this painting of the Annunciation is so beautiful, so commanding even though assuming a respectful position, that
the figure of Mary is almost secondary. Somehow da Vinci is able to convince the viewer that this is the way it should be, and is, since
Gabriel is a messenger from God and therefore in a sense represents God.
Respectful and bowing, yes, but also dominating.

59. GOES, Hugo van der
The Adoration of the Shepherds
This was painted during the middle years of the 15th century, when the rules of perspective were imperfectly understood; the panel seems to be
painted in three parts and united by the addition of details such as the worshipping angels in the foreground, and the flying angels near the top.
Notice that most of the angels, if not all, are dressed in ecclesiastical robes of one sort or another. What message are we supposed to get from this
detail?