Author: Catherine Whistler
-This book will accompany a 'once in a generation' show, the like of which has not been seen for over thirty years The Ashmolean Museum and the Albertina are collaborating on a two-part exhibition project that will examine anew the role and the significance of drawing in Raphael's career. The Ashmolean holds the greatest collection of Raphael drawings in the world, and the Albertina is the custodian of a major collection including some of the most beautiful and important of the artist's sketches. Taken together, the two collections provide extraordinary resources that, amplified by carefully-selected international loans, will allow us to transform our understanding of the art of Raphael. The Oxford exhibition is based on new research by Dr Catherine Whistler of the Ashmolean Museum and Dr Ben Thomas from the University of Kent, in collaboration with Dr Achim Gnann of the Albertina. It will take Raphael's art of drawing as its focus, with the concept of eloquence as its underlying structure. Oratory runs as a linking thread in Raphael's drawings, which stand out for the importance given to the study of gestures, facial expressions, and drapery. Moreover, Raphael treated the expressive figure of the orator - poet, philosopher, muse, apostle, saint or sibyl - in fascinating and significant ways throughout his life. This selection of drawings demonstrates how Raphael created a specific mode of visual invention and persuasive communication through drawing. He used drawing both as conceptual art (including brainstorming sheets) and as a practice based on attentive observation (such as drawing from the posed model). Yet Raphael's drawings also reveal how the process of drawing in itself, with its gestural rhythms and spontaneity, can be a form of thought, generating new ideas. The Oxford exhibition will present drawings that span Raphael's entire career, encompassing many of his major projects and exploring his visual language from inventive ideas to full compositions. The extraordinary range of drawings by Raphael in the Ashmolean and the Albertina, enhanced by appropriate loans, will enable this exhibition to cast new light on this familiar artist, transforming our understanding of Raphael's art. This book preludes a major exhibition, which will run from June to September 2017, with a range of events happening throughout this time.
Drawings from the Collection of Jean Bonna
Author: Stijn Alsteens,Metropolitan Museum of Art (New York, N.Y.),National Gallery of Scotland
Publisher: Metropolitan Museum of Art
"The works from the Bonna Collection are illustrated in color, and whenever possible, at their actual sizes. They are arranged chronologically by the artist's date of birth and are grouped according to the main artistic schools. This volume is introduced by an interview with Jean Bonna by George Goldner. Each drawing is then described in an entry, many of which have comparative illustrations that shed further light on individual works."--BOOK JACKET.
Author: Raphael,Marcia Hall,Marcia B. Hall
Publisher: Cambridge University Press
This book examines all facets of the High Renaissance painter Raphael.
Author: Crichton Alcorn
Publisher: Osmora Incorporated
Raffaello Sanzio (or Santi, Raphael in English) was an Italian Renaissance painter, architect and designer. His work along with that of his older contemporaries Leonardo and Michelangelo defined the High Renaissance style in central Italy. He was a popular personality, famous, wealthy, and honoured (Vasari says Pope Leo X, 'who wept bitterly when he died', had intended making him a cardinal), and his influence was widely spread even during his own lifetime through the engravings of Marcantonio Raimondi. His posthumous reputation was even greater, for until the later 19th century he was regarded by almost all critics as the greatest painter who had ever lived — the artist who expressed the basic doctrines of the Christian Church through figures that have a physical beauty worthy of the antique. He became the ideal of all academies (it was against his authority that the Pre-Raphaelites revolted), and today we approach him through a long tradition in which Raphaelesque forms and motifs have been used with a steady diminution of their values. He has been a major inspiration to great classical painters such as Annibale Carracci, Poussin, and Ingres. Raphael was one of the finest masters of drawing in the history of art. The completing of a huge number of studies in a diversity of techniques was Raphael's typical practice. He first made rapid sketches, and then polished them for transfer. The number of his existing drawings is over 400, but this is only a small part of the amount he produced. There was a diversity of media and techniques in his time, and he explored all of them. Raphael acquired ability in the use of silverpoint, in which the metal tip of a stylus is worked on a prepared ground applied to the paper. He first used pen and ink broadly after 1505.
Author: Claire Van Cleave
Publisher: Harvard University Press
"Beginning with an examination of drawing as part of the creative process, and showing how it reveals the artist's mind at work, the author explains in detail the materials and techniques used in Renaissance drawings. It also considers how drawings were used, how they changed stylistically through the period and how they varied in different regions of Italy. It concludes with a brief look at connoisseurship and collecting."--Amazon.
Author: Maria Peitcheva
Publisher: Maria Peitcheva
Raffaello Sanzio (Santi, Raphael) was an Italian Renaissance painter, architect and designer. His work along with that of his older contemporaries Leonardo and Michelangelo defined the High Renaissance style in central Italy. He was a popular personality, famous, wealthy, and honored. His posthumous reputation was even greater, for until the later 19th century he was regarded by almost all critics as the greatest painter who had ever lived — the artist who expressed the basic doctrines of the Christian Church through figures that have a physical beauty worthy of the antique. He became the ideal of all academies (it was against his authority that the Pre-Raphaelites revolted), and today we approach him through a long tradition in which Raphaelesque forms and motifs have been used with a steady diminution of their values. He has been a major inspiration to great classical painters such as Annibale Carracci, Poussin, and Ingres
Catalogue of the Collections
Author: Nicholas Turner
Publisher: Getty Publications
The collection of drawings at the Getty Museum was started in 1981 with the purchase of Rembrandt’s Nude Woman with a Snake and has steadily expanded since then, so that now, at the turn of the new millennium, it stands at more than six hundred drawings and is, sheet for sheet, one of the best anywhere. The Getty goal is to create from the finest examples a collection of the different Western European schools of drawing before 1900, with special emphasis on the work of the most important and accomplished draftsmen. The collection now contains superb examples of the work of Leonardo da Vinci, Raphael, Michelangelo, Dürer, Rembrandt, Claude Lorraine, Watteau, Gainsborough, David, Millet, Manet, Van Gogh, and Degas. This is the fourth in the series of catalogues describing the drawings in the Getty Museum. Most of the drawings discussed in the present volume were chosen for the collection in the period of 1994 to 1998 and include examples from the Italian, German, Dutch and Flemish, French, Spanish, and British schools. Also included are several gifts from private collectors, which mark the start of a tradition that, it is hoped, will continue in the future. The catalogue entries for these new acquisitions are organized first by national school and then by artist. The book also includes a bibliography and indexes of artists, former owners, related drawings, prints, and works in other media.
Drawings in Budapest
Author: Zoltán Kárpáti,Eszter Seres,Szépművészeti muzeum (Budapest).
The Museum of Fine Arts, Budapest, preserves six drawings by Raphael. Ever since the nineteenth century, they have been widely discussed and included in every significant modern œuvre catalogue and most monographs on the artist. Like the majority of Raphael’s sheets, these drawings have also given rise to a large amount of debate. Among the subjects under constant discussion are the authorship of the early pen drawing for the painter’s first Perugian altarpiece, the Coronation of the Virgin, the compositional study for The Massacre of the Innocents, engraved by Marcantonio Raimondi, and the Angel Head associated with the fresco decoration of the Sala di Costantino in the Vatican Palace. The present exhibition, drawn entirely from our collection, focuses on drawings by Raphael, and endeavours to shed further light on his artistic legacy by including drawings by his most talented assistants, as well as some outstanding prints from the period. As part of the preparations of the exhibition a research project was carried out by András Fáy, chief conservator of the Museum of the Fine Arts, Budapest, on Raphael’s drawings as well as the Esterházy Madonna. Ultraviolet and infrared imaging provided information on the materials of the drawings and their condition, the results of which have contributed to the studies in this volume. 0Exhibition: Museum of Fine Arts, Budapest, Hungary (18.12.2013-30.03.2014).
Author: Catherine Whistler
Category: Drawing, Italian
Raphael and Michelangelo were both superb draughtsmen, whose drawings were sought after by other artists and by collectors in their own time. Trained in the Quattrocento workshop tradition of skilful control in drawing, and inspired by the innovations of Leonardo da Vinci, Michelangelo and Raphael each brought technical mastery to new heights and in so doing transformed the status of drawing itself. In this handbook the technique and purpose of a variety of drawings by both artists are scrutinised in an attempt to examine the attitude to drawing and the working methods of these temperamentally opposed masters. The drawings selected are all in the Ashmolean Museum, Oxford, which has one of the finest groups of Raphael drawings in the world and an important collection of drawings by Michelangelo.