Elymas was painted by Raphael in 1511.

Where can I see Elymas?

Elymas is held by Ashmolean Museum.

What movement is Elymas?

Elymas is associated with High Renaissance.

Artwork

Elymas

Raphael , 1511

Elymas is an oil painting by the High Renaissance artist Raphael. It dates from 1511 and is held in the collection of the Ashmolean Museum.

About this work

Overview

The work portrays a biblical figure surrounded by a group of listeners, set before a monumental stone structure with arches and columns.

Elymas is an early‑Renaissance oil painting attributed to Raphael, dated to around 1511. The work portrays a biblical figure surrounded by a group of listeners, set before a monumental stone structure with arches and columns. The composition is anchored by a seated central figure in a green tunic and red cloak, whose outstretched right arm commands attention. The painting is part of the Ashmolean Museum’s collection.

Subject & Meaning

The central character is Elymas, a sorcerer mentioned in the Acts of the Apostles, depicted at the moment of his confrontation with the early Christian missionaries. The surrounding figures, some kneeling, suggest a scene of admonition and conversion, emphasizing themes of faith, authority, and the tension between pagan magic and emerging Christian doctrine.

Technique & Style

Raphael employs chiaroscuro to model the figures, creating a pronounced contrast between illuminated forms and the shadowed interior of the stone edifice. The palette combines muted earth tones with vivid reds and greens, while the careful rendering of drapery and architectural detail reflects the artist’s developing mastery of spatial depth and human anatomy.

History & Provenance

Created circa 1511, the painting entered the Ashmolean Museum’s holdings in the early twentieth century, though its exact acquisition trail remains sparse. It has been catalogued as a work by Raphael, contributing to the museum’s representation of Italian Renaissance art.

Context

The work belongs to a period when Raphael was transitioning from his apprenticeship in Perugia to his Florentine phase, absorbing influences from contemporaries such as Michelangelo and Leonardo. Its religious subject aligns with the era’s demand for biblical narratives, while the architectural backdrop reflects the Renaissance fascination with classical forms.