DOCSLIB.ORG

La Venaria Reale 2015 Raffaello Il Sole Delle Arti.Pub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

La Venaria Reale 2015 Raphael. The Sunshine of the Arts. La Venaria Reale – Communication & Press Office Piazza della Repubblica 4 – 10078 Venaria Reale (Turin) +39 011 4992300 (Main Switchboard - Offices) - +39 011 4992333 (Call Center) [email protected] - www.lavenaria.it 1 La Venaria Reale – Communication & Press Office Piazza della Repubblica 4 – 10078 Venaria Reale (Turin) +39 011 4992300 (Main Switchboard - Offices) - +39 011 4992333 (Call Center) [email protected] - www.lavenaria.it 2 TABLE OF CONTENTS • Page 04 Raphael. The Sunshine of the Arts. • Page 05 The exhibition • Page 11 General Information La Venaria Reale – Communication & Press Office Piazza della Repubblica 4 – 10078 Venaria Reale (Turin) +39 011 4992300 (Main Switchboard - Offices) - +39 011 4992333 (Call Center) [email protected] - www.lavenaria.it 3 Raphael The Sunshine of the Arts. "[…] the famous Raphael, in whose lifetime great Mother Nature feared to be outdone, and at whose death feared to die." Pietro Bembo Rooms of the Arts, Reggia di Venaria From 26 September 2015 to 24 January 2016 Curated by Gabriele Barucca and Sylvia Ferino Scientific Committee: Antonio Paolucci (chair), Cristina Acidini, Anna Imponente, Lorenza Mochi Onori, Maria Luisa Papotti, Mario Scalini, Maria Sframeli, Maria Rosaria Valazzi Organization: Consorzio La Venaria Reale, with the participation of MondoMostre srl and Fondazione per la Cultura Torino Partners: Intesa San Paolo With the support of: Compagnia di San Paolo Under the patronage of: The City of Turin Città metropolitana di Torino From 26 September 2015 to 24 January 2016 the Reggia di Venaria - the grandiose estate located just outside Turin, a masterpiece of architectural and landscape, enlisted as one of UNESCO's World Heritage sites - devotes an extraordinary exhibition to Raphael (Urbino, 1483 - Rome, 1520), the sublime artist who attained unprecedented heights of perfection in the 16th century, with loans from leading Italian and international museums. The exhibition is curated by Gabriele Barucca (Authority for Fine Arts and Landscape of the Marche Region) and Sylvia Ferino (former Director of the Picture Gallery of the Kunsthistorisches Museum in Vienna), with a Scientific Committee made up of eminent scholars chaired by Antonio Paolucci, Director of the Vatican Museums. The late Enrico Castelnuovo, Professor Emeritus at Scuola Normale di Pisa, also contributed to the project. La Venaria Reale – Communication & Press Office Piazza della Repubblica 4 – 10078 Venaria Reale (Turin) +39 011 4992300 (Main Switchboard - Offices) - +39 011 4992333 (Call Center) [email protected] - www.lavenaria.it 4 The exhibition This exhibition is a unique and very special event that presents, for the first time ever and in an unprecedented display consisting of more than 130 pieces, Raphael's role as the inspirator of a vast production of the so-called arti congeneri (lesser or decorative arts). This definition, provided by Vasari, referred to the applied arts that assimilated in their techniques the prodigious figurative inventions of the great artist from Urbino. Raphael's masters and early works The first section of the exhibition illustrates, through a number of magnificent paintings, the life of Raphael from his formative years as a young artist (in Urbino and Città di Castello) to his early maturity (in Perugia, Siena and Florence). The display opens with a series of beautiful works by the masters who played a crucial role in Raphael's artistic career: his father Giovanni Santi (Muses series from Palazzo Corsini), Luca Della Robbia (Madonna of the Apple, Bargello, Florence), Pietro Perugino (St. Mary Magdalene from Palazzo Pitti, Florence), Pinturicchio (Madonna of the Peace from Pinacoteca Civica di San Severino Marche) and Luca Signorelli (Crucifixion from Galleria Nazionale delle Marche of Urbino). These are accompanied by a number of Raphael's early paintings: the predella with Stories from the life of Mary (Fano, Church of Santa Maria Nuova) in which the young Raphael collaborated with his master Perugino, the Processional Cross (today at Museo Poldi Pezzoli in Milan), St. Sebastian (Bergamo, Accademia Carrara), and The Angel (Brescia, Pinacoteca Tosio Martinengo) which is a fragment from the Baronci Altarpiece for St. Augustin in Città di Castello. 5 The "arti congeneri" and the myth of Raphael as the Sunshine of the Arts The exhibition aims to approach Raphael's genius from an unusual and unexpected standpoint, that is the illustration of his creative genius benefitting what Vasari called the "arti congeneri", those "lesser arts" in which his cartoons and drawings were transposed and interpreted. In addition to an important tapestry section, the display presents an exquisite set of maiolicas depicting Raphael’s cartoons and drawings. In the 16th and 17th centuries these objects served to popularize the prodigious figurative inventions of the Italian master in Italy and across Europe. Raphael's fortune and his myth spread most notably through the prints of the engraver Marcantonio Raimondi (1480 ca - 1534) from Bologna, that represented "models" completed by the master, in some cases "early ideas", and intermediate drawings. Raphael also provided to Marcantonio some drawings made especially to be turned into engravings. Around 1515-1516 other engravers joined Raphael's workshop at a time when interest was growing around his inventions: thus, in addition to Marcantonio, "Raphael's Team" came to include Marco Dente from Ravenna, Agostino Veneziano and Ugo da Carpi. It is thanks to the extraordinary success of those engravings based on Raphael's work that, starting in the first quarter of the 16th century, numerous craftsmen started to transpose Raphael's graphical works into their arts and crafts, including sculptors, smelters, ceramists, mosaicists, engravers, and armorers. The exhibition presents this extraordinary wealth of materials and techniques. In particular, special emphasis is placed on 16th century "historiated" maiolicas whose inspiration and development owes much to Raphael's work. These pieces were crafted in workshops in Casteldurante, Pesaro, Gubbio, Urbino and later Faenza, Deruta, and other smaller towns. Moreover, rock crystals, metal plaques, enamels, glasswork, armory and wood carvings, including one of the magnificent doors of the Vatican Rooms (the one between the Room of Heliodorus and the Room of Constantine) further illustrate the artistic legacy of the eminent master. 6 The exhibition narration touches on various themes and pictorial works that define Raphael's mastery as an inspirator of styles and iconographic models, illuminating the arts like a bright Sunshine. One of the main subjects that are commonly identified with Raphael is the Madonna with Child, represented in this exhibition by the Madonna del Granduca from the Galleria Palatina of Palazzo Pitti, a splendid example of Raphael's sweet and human portraits of the Virgin Mary. This masterpiece is accompanied by two beautiful ancient replicas of the Bridgewater Madonna (Naples, Museo di Capodimonte) and the Madonna d'Orléans by Gerolamo Giovenone (Turin, Museo Civico d'Arte Antica). Also on display are a set of polychrome majolica plates, cups and plaques that were influenced by his most famous inventions, like the Madonna of Foligno, or La Belle Jardinière, that is found in the high-relief by Girolamo della Robbia. The presence in the exhibition of the superb painting by Raphael depicting Ezekiel's Vision (Florence, Palazzo Pitti) provides the opportunity to compare the drawing by Rubens (Florence, Museo Horne) and the large Flemish tapestry from the Museo Nacional de Artes Decorativas of Madrid as precious offshoots of the famous model by Raphael. Another masterpiece from the master's mature phase follows, The Ecstasy Of St. Cecilia from Bologna, an extremely famous work that deeply influenced devotional painting in Europe in the 17th century. The painting is still encased in its original frame, a splendid artifact by the engraver Giovanni Barili, with whom Raphael also collaborated for the doors of the Vatican Rooms and Loggias. This extraordinary artistic "following" is also exemplified in religious themes, stories and myths, like The Judgement of Paris: the many pieces on display include richly decorated shields and a fabulous burgonet helmet from Dresden. Another famous iconographic model inspired by Raphael is also evoked here through several pieces and techniques: The Triumph of Galatea, the 1511 fresco at the Farnesina, the Roman villa of the banker Agostino Chigi. 7 Raphael was also particularly keen on the arts of goldsmithing and mosaic, for which he provided drawings and projects for works and artifacts: around 1517 he worked for Lorenzo de' Medici and Pope Leo X on the design of fabulous jewelry and gold items that would donated to the French Court. At the heart of this commission was the Perfume Burner designed by the artist for Francis I, as shown in an engraving by Marcantonio Raimondi. The section devoted to jewelry is further enhanced by three extremely famous portraits by Raphael: Young Man With An Apple (Florence, Uffizi), Portrait of a Young Woman (or La Muta, 1507, Urbino, Galleria Nazionale delle Marche) and Portrait of Elisabetta Gonzaga (1504-1505, Florence, Uffizi) wearing a pendant in the shape of a scorpion that is reproduced in the black glass piece on loan from the Vienna Kunsthistorisches Museum. The interest of the artist in precious materials and his professional relations
Recommended publications
  • California State University, Northridge

    California State University, Northridge

    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history.
  • Janson. History of Art. Chapter 16: The

    Janson. History of Art. Chapter 16: The

    16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
  • Raffael Santi | Elexikon

    Raffael Santi | Elexikon

    eLexikon Bewährtes Wissen in aktueller Form Raffael Santi Internet: https://peter-hug.ch/lexikon/Raffael+Santi MainSeite 63.593 Raffael Santi 3'315 Wörter, 22'357 Zeichen Raffael Santi, auch Rafael, Raphael (ital. Raffaello), irrtümlich Sanzio,ital. Maler, geb. 1483 zu Urbino. Der Geburtstag selbst ist streitig: je nachdem man die vom Kardinal Bembo verfaßte Grabschrift R.s deutet, welche besagt, er sei «an dem Tage, an dem er geboren war, gestorben» («quo die natus est eo esse desiit VIII Id. April MDXX», d. i. 6. April 1520, damals Karfreitag), setzt man den Geburtstag auf den 6. April oder auf den Karfreitag, d. i. 28. März 1483, an. Seine erste künstlerische Unterweisung dankte er dem Vater Giovanni Santi (s. d.), den er jedoch bereits im 12. Jahre verlor, sodann einem unbekannten Meister in Urbino, vielleicht dem Timoteo Viti, mit dem er auch später enge Beziehungen unterhielt. Erst 1499 verließ er die Vaterstadt und trat in die Werkstätte des damals hochberühmten Malers Perugino (s. d.) in Perugia. Das älteste Datum, welches man auf seinen Bildern antrifft, ist das Jahr 1504 (auf dem «Sposalizio», s. unten); doch hat er gewiß schon früher selbständig für Kirchen in Perugia und in Città di Castello gearbeitet. 1504 siedelte Raffael Santi nach Florenz über, wo er die nächsten Jahre mit einigen Unterbrechungen, die ihn nach Perugia und Urbino zurückführten, verweilte. In Florenz war der Einfluß Leonardos und Fra Bartolommeos auf seine künstlerische Vervollkommnung am mächtigsten; von jenem lernte er die korrekte Zeichnung, von diesem den symmetrischen und dabei doch bewegten Aufbau der Figuren. Als abschließendes künstlerisches Resultat seines Aufenthalts in Florenz ist die 1507 für San Fancesco in Perugia gemalte Grablegung zu betrachten (jetzt in der Galerie Borghese zu Rom).
  • An Examination of a Seventeenth- Century Copy of Raphael’S Holy Family, C.1518

    An Examination of a Seventeenth- Century Copy of Raphael’S Holy Family, C.1518

    Uncovering the Original: An Examination of a Seventeenth- Century copy of Raphael’s Holy Family, c.1518. Annie Cornwell, Postgraduate in the Conservation of Easel Paintings Amalie Juel, MA Art History Uncovering the Original: An Examination of a 17th-Century copy of Raphael’s The Holy Family, c. 1518, The Prado Madrid. Introduction to The Project: This report has been written as part of the annual project Conservation and Art Historical Analysis, presented by the Sackler Research Forum at the Courtauld Institute of Art. Seeking to encourage collaboration between art historians and conservators, the scheme brings together two students - one from postgraduate art history and the other from easel paintings conservation - to complete an in-depth research project on a single piece of art. By doing so, the project allows a multifaceted approach combining historical research with technical analysis and, in this case, conservation treatment of the work in question. Focusing on the painting as a physical object with a material history, the project shows the value of combining art history with the more scientific aspects of the field of conservation. The focus of this project is a painting of the Virgin and Child with Saints Anne and John - a copy of Raphael’s Holy Family from the Prado - of unknown artist and date. It is owned by St Patrick’s Catholic Church in Wapping, where it had been recently found in a cupboard underneath the stairs. It came into the Courtauld Conservation Department to be treated by Annie Cornwell in November 2015, at which point it was in quite poor condition.
  • RAFFAELLO SANZIO Una Mostra Impossibile

    RAFFAELLO SANZIO Una Mostra Impossibile

    RAFFAELLO SANZIO Una Mostra Impossibile «... non fu superato in nulla, e sembra radunare in sé tutte le buone qualità degli antichi». Così si esprime, a proposito di Raffaello Sanzio, G.P. Bellori – tra i più convinti ammiratori dell’artista nel ’600 –, un giudizio indicativo dell’incontrastata preminenza ormai riconosciuta al classicismo raffaellesco. Nato a Urbino (1483) da Giovanni Santi, Raffaello entra nella bottega di Pietro Perugino in anni imprecisati. L’intera produzione d’esordio è all’insegna di quell’incontro: basti osservare i frammenti della Pala di San Nicola da Tolentino (Città di Castello, 1500) o dell’Incoronazione di Maria (Città del Vaticano, Pinacoteca Vaticana, 1503). Due cartoni accreditano, ad avvio del ’500, il coinvolgimento nella decorazione della Libreria Piccolomini (Duomo di Siena). Lo Sposalizio della Vergine (Milano, Pinacoteca di Brera, 1504), per San Francesco a Città di Castello (Milano, Pinacoteca di Brera), segna un decisivo passo di avanzamento verso la definizione dello stile maturo del Sanzio. Il soggiorno a Firenze (1504-08) innesca un’accelerazione a tale processo, favorita dalla conoscenza dei tra- guardi di Leonardo e Michelangelo: lo attestano la serie di Madonne con il Bambino, i ritratti e le pale d’altare. Rimonta al 1508 il trasferimento a Roma, dove Raffaello è ingaggiato da Giulio II per adornarne l’appartamento nei Palazzi Vaticani. Nella prima Stanza (Segnatura) l’urbinate opera in autonomia, mentre nella seconda (Eliodoro) e, ancor più, nella terza (Incendio di Borgo) è affiancato da collaboratori, assoluti responsabili dell’ultima (Costantino). Il linguaggio raffaellesco, inglobando ora sollecitazioni da Michelangelo e dal mondo veneto, assume accenti rilevantissimi, grazie anche allo studio dell’arte antica.
  • Renaissance at the Vatican

    Renaissance at the Vatican

    Mensile Data Novembre 2013 Sotheby’s Pagina 46-47 Foglio 1 / 3 ART WORLD INSIDER Renaissance at the vatican VI (reigned 1963 to 1978), who knew many artists from his time in Paris, inaugurated the collection of modern art in the Borgia Apartments, decorated in the 15th century by Pinturicchio and home to some 600 donated works of variable quality (ironically, the Vatican’s version of Bacon’s famous popes is not among the best). Now, the Vatican is once again engaging with work by living artists and this year, for the fi rst time, it has a national pavilion at the Venice Biennale with commissioned works by the Italian multimedia collective Studio Azzurro, the Czech photographer Josef Koudelka and the American painter Lawrence Carroll. What do you say to these who think the Church should sell all of its treasures and give it to the poor? If it sold all its masterpieces, the poor would be poorer. Everything that is here is for the people of the world. Has the election of Pope Francis made a difference? PROFESSOR ANTONIO PAOLUCCI, DIRECTOR, VATICAN MUSEUMS Because of him, even more people have come to Rome. After the Angelus prayer and the papal audiences, they want to see the museums. We have 5.1 Anna Somers Cocks profi les Professor Antonio million visitors a year and I would like to have zero Paolucci, the custodian of one of the world’s growth now. greatest repositories of art at the Vatican Museums in Rome What is the role of the Vatican Museums? People expect them to be very pious: instead, you see After a brilliant career as a museum director in more male and female nudes than in most museums.
  • Barbara Böckmann Ludwig Gruner's Drawings After Raphael's Cartoons

    Barbara Böckmann Ludwig Gruner's Drawings After Raphael's Cartoons

    Barbara Böckmann Ludwig Gruner's Drawings after Raphael's Cartoons for the Tapestries in the Vatican A Discovery in the Kupferstich-Kabinett in Dresden Translation of the German version into English by Daniel Böckmann Erschienen 2021 auf ART-Dok URN: urn:nbn:de:bsz:16-artdok-72270 URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2021/7227 DOI: https://doi.org/10.11588/artdok.00007227 Ludwig Gruner's Drawings after Raphael's Cartoons for the Tapestries in the Vatican. A Discovery in the Kupferstich-Kabinett in Dresden © Dr. Barbara Böckmann Heidelberg [email protected] 1 Ludwig Gruner's Drawings after Raphael's Cartoons for the Tapestries in the Vatican. A Discovery in the Kupferstich-Kabinett in Dresden* __________________________________________________________________________ In the exhibition “Raffael – Macht der Bilder. Die Tapisserien und ihre Wirkung” in the Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, (6 July - 30 August 2020), six tapestries after the famous Raphael Cartoons - now in the Victoria & Albert Museum - were exhibited for the first time after long and spectacular restoration. Drawings, engravings and sculptures from the holdings of the Dresden State Art Collections as well as from international collections introduced the visitor to the history of the creation of the tapestries and their reception, which experienced a Europe-wide renaissance in the 19th century.1 Also on display were two large-format charcoal drawings after Raphael's cartoons “The Miraculous Draught of Fishes” and “The Death of Ananias”. The copies had been rediscovered “rolled up” in the Kupferstich-Kabinett Dresden on the occasion of the preparations for the tapestry exhibition, together with 13 other detailed studies.
  • Raffaello Madonna Sistina.Indd

    Raffaello Madonna Sistina.Indd

    GEMEINSCHAFTSAUSGABE MIT DEUTSCHLAND* EMISIÓN JUNTA CON ALEMANIA* RAFFAEL: RAFAEL: SIXTINISCHE MADONNA UND MADONNA DI FOLIGNO LA MADONNA SIXTINA Y LA VIRGEN DE FOLIGNO 1. März 2012 1 de marzo del 2012 Die Madonna di Foligno, die heute in der Vatikanischen Pinakothek au- La Madonna de Foliño, hoy en la Pinacoteca Vaticana, y la Madonna UFFICIO FILATELICO E NUMISMATICO fbewahrt wird, und die Sixtinische Madonna, die sich heute in der säch- Sixtina, conservada en Dresde (Sajonia), fueron realizadas casi GOVERNATORATO sischen Stadt Dresden befi ndet, sind fast gemeinsam entstanden. 1511 contemporáneamente por Rafael Sanzio (1483-1520). En 1511 CITTÀ DEL VATICANO gab der aus Foligno stammende Sigismondo de’Conti, der Privatsek- Segismundo de Conti, secretario del papa Julio II, comisionó al retär von Papst Julius II. war, die erstere als Hochaltarbild für die Kirche artista una nueva pintura de altar para Santa María en Aracoeli. En el www.vaticanstate.va S. Maria in Aracoeli in Auftrag. Ebenfalls von Raffael liess 1512 Papst mismo período, por petición del Pontífi ce, Rafael se preparaba para Julius II. selbst die Sixtinische Madonna für die Kirche S. Sisto in Piacen- pintar la Madonna Sixtina para la iglesia de San Sixto en Piacenza; za malen. Die Bilder standen also vielleicht sogar nebeneinander in der resulta probable que los dos cuadros se encontraran literalmente Werkstatt des grossen Renaissancemalers. In der Madonna di Foligno instalados en el mismo taller del urbinate. En la Madonna de Foliño, werden die Heiligen Franziskus, Johannes der Täufer und der Kirchen- la Virgen se representa según aparece-siguiendo la Leyenda áurea- lehrer und erste päpstliche Sekretär gemeinsam mit dem Stifter der Vi- al emperador Augusto el día de Navidad; los Santos Francisco, sion des Kaisers Augustus teilhaftig, dem Maria mit dem Kind am Tag Juan Bautista y Jerónimo, doctor de la Iglesia, participan de esta der Geburt Christi einer alten römischen Legende nach die Ankunft des trascendental experiencia junto con el mismo donante, Segismundo Weltenherrschers verkündet hat.
  • Raffaelloraffaello

    Raffaelloraffaello

    RAFFAELLORAFFAELLO Autoritratto, 1506 ca Vol II, pp. 446-459 1483-1520 LA VITA 1483 nasce a Urbino figlio di un pittore Va a bottega dal padre e si educa alla corte dei Montefeltro Allievo del Perugino 1504-1508 soggiorno fiorentino 1508 va a Roma invitato da Giulio II e con l’aiuto di Bramante Lavora per Giulio II e Leone X 1520 muore a Roma Raffaello 2 1483-1520 LE OPERE 1500-1502 Studio di nudo maschile (disegno) Urbino 1502 Cristo benedicente 1505 San Giorgio e il drago (disegno) Firenze 1504 Lo sposalizio della Vergine (olio su tavola) 1505 Ritratto di Agnolo Doni 1506 Ritratto di Maddalena Doni 1506 Madonna del cardellino 1506 Madonna del prato (o del Belvedere) 1507 Sacra famiglia Canigiani (olio su tavola) 1507-1509 Trasporto di Cristo al sepolcro (pala Baglioni) 1509-1510 Scuola d’Atene (affresco) Roma 1512 Ritratto di Giulio II 1513 Madonna della seggiola 1513 La velata 1513-1514 altri affreschi nelle Stanze vaticane 1518 Leone X 1518-1519 Due uomini nudi in piedi (disegno) 1518-1520 Trasfigurazione (olio su tavola) Raffaello 3 1500-1502 STUDIO DI NUDO MASCHILE All’inizio della sua carriera si dedica al disegno, soprattutto agli studi sulla figura umana Non disegna un contorno netto ma una serie di linee affiancate I corpi vengono presentati scarni, con muscoli e tendini in evidenza Michelangelo, Studio di figura nuda, 1504-06 Raffaello 4 1502 CRISTO BENEDICENTE Opera giovanile È ancora a Urbino Raffaello 5 1505 SAN GIORGIO E IL DRAGO Influssi leonardeschi – Il cavallo impennato – Lo slancio del cavaliere – La lunga testa del
  • Rome Celebrates Raphael Superstar | Epicurean Traveler

    Rome Celebrates Raphael Superstar | Epicurean Traveler

    Rome Celebrates Raphael Superstar | Epicurean Traveler https://epicurean-traveler.com/rome-celebrates-raphael-superstar/?... U a Rome Celebrates Raphael Superstar by Lucy Gordan | Travel | 0 comments Self-portrait of Raphael with an unknown friend This year the world is celebrating the 500th anniversary of Raphael’s death with exhibitions in London at both the National Gallery and the Victoria and Albert Museum, in Paris at the Louvre, and in Washington D.C. at the National Gallery. However, the mega-show, to end all shows, is “Raffaello 1520-1483” which opened on March 5th and is on until June 2 in Rome, where Raphael lived the last 12 years of his short life. Since January 7th over 70,000 advance tickets sales from all over the world have been sold and so far there have been no cancellations in spite of coronavirus. Not only is Rome an appropriate location, but so are the Quirinal’s scuderie or stables, as the Quirinal was the summer palace of the popes, then the home of Italy’s Royal family and now of its President. On display are 240 works-of-art; 120 of them (including the Tapestry of The Sacrifice of Lystra based on his cartoons and his letter to Medici-born Pope Leo X (reign 1513-21) about the importance of preserving Rome’s antiquities) are by Raphael himself. Twenty- 1 of 9 3/6/20, 3:54 PM Rome Celebrates Raphael Superstar | Epicurean Traveler https://epicurean-traveler.com/rome-celebrates-raphael-superstar/?... seven of these are paintings, the others mostly drawings. Never before have so many works by Raphael been displayed in a single exhibition.
  • JOURNAL of the FRIENDS of the UFFIZI GALLERY No

    JOURNAL of the FRIENDS of the UFFIZI GALLERY No

    Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze JOURNAL OF THE FRIENDS OF THE UFFIZI GALLERY No. 76 - December 2019 Homage to the Greatest In the words of 1483–1520, these are the Raphael walking through the Venetian order that through chronological boundaries of poetically entitled palace cham- perspective unveils the visible Antonio Paolucci, the Raphael’s existence. His earli- bers (the Throne Room, Jole’s truth. phases of the brief but est period was spent in Urbino Room, the Sweet Orange Room, The foundations of Rapha- intense life of Raphael. el’s training are Urbino and the artistic and literary culture The fleeting years of his of the court of the Montefel- glorious youth, filled with tro. Urbino taught the son of masterpieces Giovanni Santi two fundamen- tal concepts. First, the omni- presence and pervasiveness of aphael died on April 6, beauty found everywhere and R1520, shortly after his within everything. Still today, thirty-seventh birthday, having few other places in Italy give as come down some days earlier clear a demonstration of this with an “acute and continuous concept as the city of the Mon- fever”, probably malaria, en- tefeltro. Urbino taught the boy, demic and often fatal in Rome heir to his father’s workshop at the time. His funeral was held and trade, that beauty must be in the Pantheon. All Rome was modulated and represented present and all Rome cried – following a codified selection, as Vasari tells us – also because within protocols that find their the Transfiguration, today in the origins and justification within Vatican Pinacoteca, was placed the Court itself.
  • The Young Talent in Italy

    The Young Talent in Italy

    Originalveröffentlichung in: Jonckheere, Koenraad (Hrsg.): Michiel Coxcie, 1499 - 1592, and the giants of his age : [...on the occasion of the exhibition "Michiel Coxcie: the Flemish Raphael", M - Museum Leuven, 31 October 2013 - 23 February 2014], London 2013, S. 50-63 und 198-204 Eckhard Leuschner THE YOUNG TALENT IN ITALY 4U ichiel Coxcie appears to have been in Italy between about 1530 and a.539.1 With just two exceptions (see below), no contemporary archival documentation relating to this phase of his career has so far been published. Giorgio Vasari mentions that he met Coxcie in Rome in M1532,2 and the surviving paintings, drawings and prints indicate that that is where he spent almost all his time in Italy. As far as the art history of Rome in the Cinquecento is concerned, the 1530s may well be the least studied decade of the century. 3 That is partly due to the political events of the previous years, especially the Sack of Rome in 1527 and its aftermath. When the troops of Emperor Charles V stripped the city of its treasures and political importance, they also weakened the finances of local patrons and the demand for art in general. However, the onset of the Reformation in the North had made itself felt even before then, and the number of works of art commissioned and produced in Rome had been in decline since the early 1520s.4 Although the city ’s artistic life never came to a complete standstill (not even during or immediately after the sack), the scarcity of information on artists active in Rome around 1530 speaks for itself.