Freitag, 29.03.2024 07:29 Uhr

The Academy of Saint Luke in Rome and the myth of Raphael

Verantwortlicher Autor: Carlo Marino Rome, 21.10.2020, 19:50 Uhr
Nachricht/Bericht: +++ Kunst, Kultur und Musik +++ Bericht 5549x gelesen

Rome [ENA] Raffaello Sanzio (1483-1520), known as Raphael, who died at the height of his glory in Rome, represented, as already well traced by the artist and biographer Giorgio Vasari in his “Lives of the artists”, an essential figure for his time and for the generations of the following centuries, a teacher and model of reference with whom one must necessarily confront and be inspired by.

The Academy of Saint Luke founded in 1577 as an association of artists in Rome (under the directorship of Federico Zuccari from 1593), dedicates to Raphael, an exhibition from 22nd october 2020 – 30 january 2021. Raphael is a classical artist to whom the Academy has inspired its action over the centuries, and the exhibition aims to illustrate, through 55 works, both belonging to the collection and coming from important loans, the role played by the Academy itself in the creation, in the custody and dissemination of the myth of Raphael between the sixteenth and twentieth centuries.

The Academy was named after Saint Luke the evangelist who, according to a legend, made a portrait of the Virgin Mary, and thus became the patron saint of painters' guilds. From the late 16th century until it moved to its present location at the Palazzo Carpegna, the Academy of Saint Luke was based in an urban block by the Roman Forum and although these buildings no longer survive, the Academy church of Santi Luca e Martina, does. Designed by the Baroque architect, Pietro da Cortona, its main facade overlooked the Forum.Il San Luca "Di Raffaello" a sort of Academic Icon, the altarpiece depicting San Luca painting the Virgin, is the showpiece of the Exhibition. The masterwork was traditionally attributed to Raphael

and was adopted as a symbolic image of the National Academy of San Luca at least since the 1580s. From that moment on, it is possible to follow through various stages the actions implemented by the Roman academy to support the consolidation of Raphael's primacy, also through the analysis of the fortune of this famous painting. For the first time, a faithful copy of it made by the painter Antiveduto Gramatica (1571 -1626) in 1623 is exhibited alongside the work of the Academy, currently preserved on the main altar of the church of Santi Luca e Martina.

The two works are accompanied by numerous chalcographies, drawings and engravings taken from them in modern times, among which the print made by the famous Dutch engraver Cornelis Bloemaert in the second half of the 17th century stands out for its quality. The Exhibition is a gallery of works by the great masters of the Academy that illustrates the various phases through which the example of the great painter from Urbino was observed, assimilated and reworked, significantly marking the history of art in Rome for a long time.

The exhibition is a superb overview ranging from the school of Marat between the late seventeenth and early eighteenth centuries, to the “grandeur” promoted by Charles Le Brun (1619 – 1690) through the French Academy in Rome, to the pleasant painting of Angelika Kauffmann (1741 –1807) in the mid-eighteenth century, to the predilection of the "first Raphael" by the purist Antonio Bianchini (1803 –1884) to the rhetoric of the mature nineteenth century with the monumental San Luca by Francesco Podesti (1800 –1895).Paintings, engravings and cartoons tell the various ways in which the academic artists have reworked, over time the example of the master from Urbino up to contemporary artists.

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