RAFFAELLO Sanzio - Loggia of Pope Leo X (second floor) da European Art Tramite Flickr: RAFFAELLO Sanzio.
(b. 1483, Urbino, d. 1520, Roma).
Loggia of Pope Leo X (second floor).
Palazzi Pontifici, Vatican.
The loggias in the Vatican are one of Raphael’s few architectural projects that have been preserved. Julius II had commissioned them from Bramante in about 1512. After Bramante’s death in 1514, Raphael completed the loggia on the first floor. He alone was responsible for the decorations on the second floor. This loggia became famous for the grandiose cycle of frescoes illustrating 52 scenes from the Old Testament, popularly referred as the “Raphael Bible,” which the workshop carried out between 1518 and 1519..
— Keywords: ————–.
Author: RAFFAELLO Sanzio.
Title: Loggia of Pope Leo X (second floor).
Raphael Loggias Hermitage Museum - The prototype for the Loggias that the architect Giacomo Quarenghi created for Catherine II in the 1780s was the celebrated gallery in the Vatican Palace in Rome that was frescoed from sketches by Raphael…
The exhibition centers on drawings and
prints by the late Renaissance artists Parmigianino (Parma, 11
January 1503-Casalmaggiore, 24 August 1540), and Federico Barocci
(Urbino, 1526–1612). Both artists were extremely successful in
their own lifetime, when contemporaries considered them as skilled as
Raphael, the high Renaissance genius.
Undoubtedly, Parmigianino and Barocci
were very interested in Raphael’s work, and studied it closely. Many
of their compositions contain direct quotations from the master’s
work. For example, the Foolish Virgins painted by Parmigianino on the
vault of the Church of the Steccata in Parma are inspired by the woman carrying a vase in Raphael’s Fire in the Borgo in the Vatican Stanze.
Similarly, Barocci used the figure of Mercury painted by Raphael in
the Loggia of Psyche at the Villa Farnesina as a model in many of his paintings. He evoked it in the figure
of Christ in the painting Vision of St Francis, where he also imitated the stark juxtaposition of human and divine reality
seen in Raphael’s Transfiguration. Encouraged
by the antiquarian and critic Giovanni Pietro Bellori, Barocci also
imitated Raphael’s habit of developing multi-figure compositions from
individual life studies of studio assistants and errand boys.
their deep knowledge and continuous reference to Raphael’s oeuvre, the
two sixteenth-century painters developed unique styles, suggesting a
dialectic of learning and competition, which visitors can explore at the Capitoline Museums’ exhibition.