Raffaello Sanzio E-Book

Narim Bender

• Herausgeber: BookRix
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2013

Beschreibung

Raffaello Sanzio 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. 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. Raffaello 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.

Leseprobe

Narim Bender

Raffaello Sanzio

58 Drawings

BookRix GmbH & Co. KG80331 Munich

Drawings

Study for the Coronation of St Nicholas of Tolentino

1500-01, Black chalk over stylus, 409 x 265 mm, Musee des Beaux-Arts, Lille

This drawing records the lost portions of the composition of the altarpiece Coronation of St Nicholas of Tolentino, of which only four fragments survive.

Study for St Thomas

1502-03, Silverpoint on white prepared paper, 268 x 196 mm, Musee des Beaux-Arts, Lille

This drawing is a study for the central figure of St Thomas in the Oddi Altarpiece. In the painting, several of the apostles look upward towards the Virgin in glory, most dramatically St Thomas, who holds the belt that Mary dropped down to him as proof of her assumption into heaven. This delicate drawing in silverpoint records the preparation of this challenging head, raised at a difficult angle. Below on the same sheet is a study of the hands of St Thomas, positioned gracefully to hold the relic of Mary's earthly existence. Several other preparatory drawings survive.

Madonna and Child

c. 1503, Pen and ink, 114 x 130 mm, Ashmolean Museum, Oxford

This sketch is a study for the Madonna and Child in the Norton Simon Museum of Art, Pasadena. The pose and the expression of the figures are the same as those in the painting, but Raphael had not yet decided on the landscape. The architecture in the background is on the left in the painting, but in the sketch is on the right. This part of the landscape appears again, larger and in more detail, on the right side of the drawing.

Study of a Seated Figure and Hand

1503, Silverpoint, 263 x 189 mm, Musee des Beaux-Arts, Lille

This drawing is a study for the Madonna and Child (Norton Simon Madonna).

Study of an Angel

1503, Silverpoint, 210 x 230 mm, Musee des Beaux-Arts, Lille