115 research outputs found
Raffaello: non solo armonie e conflitti tra mondo antico e spiritualità cristiana
No full textIl 21 ottobre 2020 l’Accademia Nazionale di San Luca inaugura la mostra Raffaello. L’Accademia di San Luca e il mito dell’Urbinate, a cura di Francesco Moschini, Valeria Rotili e Stefania Ventra, affiancati dal comitato scientifico composto da Liliana Barroero, Marisa Dalai Emiliani, Michela di Macco, Sybille Ebert-Schifferer, Vincenzo Farinella, Silvia Ginzburg, Arnold Nesselrath, Serenella Rolfi Ožvald e Alessandro Zuccari
Il Putto reggifestone «che dicesi dell’immortale Raffaello»: fortuna e storia conservativa tra Otto e Novecento
No full textThe contribution reconstructs the conservative history of the mysterious fresco fragment depicting a Putto, with unpublished archive documentation, graphics and photographs, which came to the collections of the Accademia di San Luca in Rome through the bequest of Jean-Baptiste Wicar in 1834. The research highlights how the conservation conditions of the painting influenced the doubts regarding its autograph, up to the precise reconstruction of the debate that arose around the work in the 1960s, when it was subjected to a restoration by the ICR
Note sulla fortuna del putto che affianca il Profeta Isaia di Raffaello
No full textThe text reconstructs the visual fortune among artists of the modern age of the figure of the festoon-bearing putto alongside the Prophet Isaiah frescoed by Raphael in the church of Sant'Agostino in Rome
Tommaso Minardi e Raffaello: dai disegni inediti del «ragazzo faentino» ai discorsi accademici della maturità
No full textThe contribution analyses the function of Raphael in the thought and work of the painter Tommaso Minardi. Through unpublished youthful drawings and speeches given by the artist during his academic teaching in his maturity, the text investigates tangencies and evolutions in his approach to the great 16th-century master
Apprendere da Raffaello. Modello, funzione e ricezione nelle accademie e nella teoria dell'arte
No full textThrough contributions by international scholars, the volume investigates the fortune of Raphael's model in art academies and writings dedicated to art education between the 16th and 19th centuries
Raffaello. L'Accademia di San Luca e il mito dell'Urbinate
No full textThe exposition forms part of the celebrations being overseen by the National Committee for the Celebration of the Fifth Centennial of the Death of Raphael, a committee appointed by the Ministry of Culture and Tourism under whose patronage the
exhibition takes place.
Five hundred years ago, celebrated as no artist had ever been before him, Raffaello Sanzio (1483-1520) died in Rome. A maestro
and lodestar whose importance was exalted by the biographer-artist Giorgio Vasari, he was accorded a stature both artistic and
moral which would be universally recognised for centuries to come. In Raphael, the Accademia di San Luca – whose dual raison
d’être lay in providing artistic training and, simultaneously, elevating the social position of its artists – found the ideal figure of
inspiration for its own activities, and the Academy thus became a key player in the creation and promotion of the legend of the
artist from Urbino. Featuring works from the Academy’s own collections and a number of very significant loans, this exhibition
aims to illustrate the institution’s central contribution to Raphael’s near-mythical status.
As early as the sixteenth century, the Academy had already chosen as its symbol the altarpiece representing St Luke Painting the
Virgin, a painting traditionally attributed to Raphael, who is portrayed (or portrays himself) standing next to the patron saint of
painters – the suggestion clearly being that this is the figure to whom aspiring young artists should look for inspiration. One of
the clearest examples of the importance attributed to the painting is the celebrated copy – recently restored by the Accademia di
San Luca – made by Antiveduto Gramatica in 1623 and currently conserved in the church of Santi Luca e Martina, with its ornate
frame which was donated by Carlo Maratti in 1700. The exhibition offers the public an opportunity to see the two paintings
side-by-side for the first time in centuries, along with a selection of more recent drawings and prints inspired by them.
Stars of the exhibition include the Putto with Garland which first made its appearance in the Academy’s gallery in 1834, to the
joy of artists and connoisseurs for whom it represented the only fresco by Raphael that could be studied at close quarters, giving
rise to what would become a veritable mania for making copies of the subject. The most famous and best documented of these
is the copy made in 1858 by the young French painter Gustave Moreau, which here, on loan from the Musée Gustave Moreau
in Paris, is at long last reunited with the original. The exhibition has provided the occasion for new and important investigations
regarding the Academy’s Putto, and the additional scholarly evidence emerging from these will undoubtedly nourish the debate
surrounding the painting – which some believe to be the first version of the putto represented alongside the Prophet Isaiah in the
Roman church of Sant’Agostino, a fresco whose authorship has long been a subject of dispute.
Surpassing all others as a model for young artists-in-training, over the centuries Raphael’s work was the subject of countless
copies, made as exercises in painting and sculpture within the Academy’s various disciplinary ambits, as is illustrated by the
competition entries and teaching material featured in the exhibition.
The exhibition concludes with a gallery of works by some of the Academy’s great masters, exemplifying the many ways in which
the example offered by the greatest of painters was studied, assimilated and re-elaborated, powerfully influencing the history of
art in Rome for many generations, up to and including the twentieth century, as is attested by the remarkable self-portrait by
Achille Funi with which the exhibition ends.
Defender of Raphael’s legendary status, champion of the beau idéal, and always a leading participant in celebrations dedicated
to his anniversaries and centenaries, with this exhibition the Accademia di San Luca renews its historical undertaking to honour
the memory of Raphael and everything he has represented for the academies and artists of Rome
Attilio Silvio Motti : medaglie celebrative per il IV centenario della morte di Raffaello (Catt. 27a-27b)
No full text
Il Putto reggifestone di Raffaello. Studi, indagini, restauro
No full textThe volume collects the results of the research, technical investigations and restoration conducted in 2021 on the fresco fragment depicting a Putto holding a garland, preserved at the National Academy of San Luca in Rome and for more than half a century at the center of a debate on attribution. The evidence gathered on the occasion of the project carried out in 2020-2021 allows the painting to be brought back to the hand of the master from Urbino
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