The archive of the Diotallevi family preserves a folder of unpublished letters concerning the purchase of the so-called
by Raphael and a
by Bernardino Luini for the Berlin Gemäldegalerie, which in ...the Diotallevi collection had been misattributed to Perugino and Garofalo, respectively. The correspondence between the art collector Audiface Diotallevi and Gustav Friedrich Waagen, director of the Berlin museum, documents protracted negotiations during which both buyer and seller politely bargained for advantage. Whilst Diotallevi was keen to bolster the reputation of his collection by the prestigious sale of the two paintings to the Berlin museum, Waagen did his best not to reveal his belief in Raphael’s authorship of the
. The two paintings, reserved for Waagen since December 1841, eventually left Rimini in April 1842, and were sent to Berlin via Rome.
Book Review: Robert Williams, Raphael and the Redefinition of Art in Renaissance Italy. Cambridge: Cambridge University Press, 2017. 314 pp.; 113 b/w ills. Hardcover $105.00 (9781107131507)
Raphael in Oxford and Vienna Henry, Tom
Burlington magazine,
03/2018, Letnik:
160, Številka:
1380
Journal Article
Two substantial exhibitions offered different approaches to Raphael's drawings. At the Ashmolean they were interpreted in terms of rhetorical and literary composition, whereas the display at the ...Albertina, where paintings were also shown, focused on the drawings' place in Raphael's design process, raising in some cases significant issues of attribution.
Raphael and Replicas Silver, Larry
Art History,
February 2018, 2018-02-00, 20180201, Letnik:
41, Številka:
1
Journal Article, Book Review
Recenzirano
Reviewed: Marcantonio Raimondi, Raphael and the Image Multiplied, edited by Edward Wouk with David Morris, Manchester: Manchester University Press, 2016, 240 pp., 169 b. & w. illus., £25 pbk.
In 2020 there will be major exhibitions and conferences in connection with the fifth centenary of the death of Raphael in April 1520. Many scholars involved in Raphael studies are hoping to use this ...occasion to celebrate the artist and increase the understanding of his role, and that of his extensive workshop, in the Roman renaissance and beyond. My approach has been to divide the research into three main areas in order to give a clearer view of the estate: the commissioning of Raphael's funeral chapel and the actions of the canons of the Pantheon; the activities of the executors Baldassare Turini and Giovanni Battista Branconi; and the benefits under the Will for Raphael's heirs. One area that needs to be explored in further detail is that of the debts of the artist on his death.
That the sculptural heads created by Andrea del Verrocchio (1435-1488) were esteemed by his contemporaries and later generations of artists, and for reasons beyond their monetary value, is confirmed ...by the previously unobserved appearance of a humble terracotta workshop model by the master in the drawings of Raphael (1483-1520) and Leonardo da Vinci (1452-1519). It is well established that 15th-century Florentine artists made use of sculptural models, but this bust is of particular interest for the ways in which it was transformed and rendered almost malleable through the generative power of drawing. Analysis of the bust and the art works it informed expands on the ways in which Verrocchio influenced Leonardo, playing a formative and hitherto unexplored role in the development of a number of Leonardo's key practices as a draftsman.
En este artículo se presentan noticias inéditas sobre la vida y obra del artista italiano Julio Aquiles, pintor formado en el taller de Giovanni da Udine en Roma y colaborador de Perino del Vaga en ...Génova, que, tras su intervención en los palacios de Francisco de los Cobos y en la Casa Real Vieja de la Alhambra, acabó convirtiéndose en uno de los artistas más influyentes en la pintura mural del Renacimiento en España
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