Raphael’s Ostrich begins with a little-studied aspect of Raphael’s painting—the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D’Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D’Elia demonstrates the rich variety of ways in which people made sense of this living “monster,” which was depicted as the embodiment of heresy, stupidity, perseverance, justice, fortune, gluttony, and other virtues and vices. Because Raphael was revered as a god of art, artists imitated and competed with his ostrich, while religious and cultural critics complained about the potential for misinterpreting such obscure imagery. This book not only considers the history of the ostrich but also explores how Raphael’s painting forced viewers to question how meaning is attributed to the natural world, a debate of central importance in early modern Europe at a time when the disciplines of modern art history and natural history were developing. The strangeness of Raphael’s ostrich, situated at the crossroads of art, religion, myth, and natural history, both reveals lesser-known sides of Raphael’s painting and illuminates major cultural shifts in attitudes toward nature and images in the Renaissance. More than simply an examination of a single artist or a single subject, Raphael’s Ostrich offers an accessible, erudite, and charming alternative to Vasari’s pervasive model of the history of sixteenth-century Italian art.
There will be a traveling exhibits of Joseph Raffael's work: * Nancy Hoffman Gallery, NYC - September 10 through October 31, 2015 * Canton Museum, Canton Ohio - December 2015 through early March 2016 * Southern Ohio Museum, Portsmouth, Ohio - March through June 2016 * Flint Institute of Arts, Flint, Michigan - June through August, 2016Extraordinary in scale, infinitesimal in detail, and sumptuous in color, the paintings of master watercolorist Joseph Raffael plumb the depths of nature's beauty. Eighty-eight works of deep reflection, awe, and joy selected for this volume were created in his home and garden in Cap D'Antibes, France, overlooking the sparkling Mediterranean Sea. Raffael's radiant vision of the natural world, including flowers, fish and water, has garnered critical praise throughout his long career. "Despite their iconic serenity when seen from a distance," wrote art critic Robert Hughes, "Raffael's paintings disclose a bejeweled profusion of incident close up," concluding that the artist's color-drenched canvases display "a tender virtuosity without parallel in other American figurative painting today." It might be said that water, a symbol of life and constant change, is both Raffael's muse and teacher. The artist becomes its conduit as his colour-saturated brush glides along the surface of the white paper. "Watercolors have a mind of their own. I just need to show up and be present," he tells Betsy Dillard Stroud in her interview with the 81-year old artist. Lanie Goodman, a fellow resident in the South of France, visits Raffael at work in his light- filled studio, which she describes, in her biographical profile of the artist, as his haven and heaven. With tables of brushes and glass dishes of paint, the carefully cultivated garden by his wife Lannis, and the blue sea beyond, Raffael joins the long legacy of artists - Cezanne, Matisse, Leger among them - nourished by this life and vista. Raffael's home, where artist and nature are in constant dialogue, accounts for the artist's luminous painting, their symphonic color, and the splendour we behold in them. In his essay "A Walk in Beauty," David Pagel identifies Raphael's worlds within worlds as profound instances of big-picture thinking - the best possible experience of both Nature and Art.
Making Copies in European Art 1400-1600 comprises sixteen essays that explore the form and function, manner and meaning of copies after Renaissance works of art. The authors construe copying as a method of exchange based in the theory and practice of imitation, and they investigate the artistic techniques that enabled and facilitated the production of copies. They also ask what patrons and collectors wanted from a copy, which characteristics of an artwork were considered copyable, and where and how copies were stored, studied, displayed, and circulated. Making Copies in European Art, in addition to studying many unfamiliar pictures, incorporates previously unpublished documentary materials.
A catalog of the Italian Renaissance painter's work includes more than one hundred paintings and drawing, with textual entries for each, an account of the artist's life and work, and brief essays on his fresco painting in the Vatican and his work in British art collections.
In early sixteenth-century Italy, works of art came to be understood as unique objects made by individuals of genius, giving rise to a new sense of the artist as the author of his images. At the same time, the practice of engraving, a medium that produced multiple printed images via collaborative processes, rapidly developed. In this book, Lisa Pon examines how images passed between artists and considers how printing techniques affected the authorship of images. Pon focuses on the encounters between the engraver Marcantonio Raimondi and three key artists: Albrecht Dürer, Raphael, and Giorgio Vasari. She reevaluates their work in light of the tensions between possessive authorship and practical collaboration in the visual arts.
Another Fabulous Art History Thriller by the Bestselling Author of Oil and Marble, Featuring the Master of Renaissance Perfection: Raphael! Michelangelo’s Sistine Chapel ceiling is one of the most iconic masterpieces of the Renaissance. Here, in Raphael, Painter in Rome, Storey tells of its creation as never before: through the eyes of Michelangelo’s fiercest rival—the young, beautiful, brilliant painter of perfection, Raphael. Orphaned at age eleven, Raphael is determined to keep the deathbed promise he made to his father: become the greatest artist in history. But to be the best, he must beat the best, the legendary sculptor of the David, Michelangelo Buonarroti. When Pope Julius II calls both artists down to Rome, they are pitted against each other: Michelangelo painting the Sistine Ceiling, while Raphael decorates the pope's private apartments. As Raphael strives toward perfection in paint, he battles internal demons: his desperate ambition, crippling fear of imperfection, and unshakable loneliness. Along the way, he conspires with cardinals, scrambles through the ruins of ancient Rome, and falls in love with a baker’s-daughter-turned-prostitute who becomes his muse. With its gorgeous writing, rich settings, endearing characters, and riveting plot, Raphael, Painter in Rome brings to vivid life these two Renaissance masters going head to head in the deadly halls of the Vatican.