Exhibition of portraits of Pope Julius II at the Stadel Museum in Frankfurt automatic translate
FRANKFURT. From November 8, 2013 to February 2, 2014, in the Stadel Museum will be presented the exhibition «Raphael and Portrait of Julius II. Exhibition of Fine Arts of the Cabinet Type. Evolution and Attribution of the Portrait in Stedel Museum « (Raphael and the Portrait of Julius II), consisting of several versions of the portrait of Pope Julius II (Pope Julius II), one of which was purchased by the museum three years ago.
The exhibition exposition includes several picturesque portraits of the Pope, including two works by Raphael and Titian from the Uffizi galleries and Palazzo Pitti in Florence. The exhibition also includes technical documentation and research reports conducted over the canvas, belong to the Stedel Museum, including X-ray and infrared pictures of the painting. The purpose of the organization of the exhibition was not only to tell the viewer about the picture and history acquired by the museum, but also to demonstrate its close connection with other versions of the portrait of Julius II.
Recall that the Frankfurt Museum acquired a painting in 2010 from a German collector who lives in Switzerland. And, at the time of the acquisition of the canvas, it was considered a late copy of the portrait of Raphael. The amount of the transaction was not disclosed, but when a year earlier the picture was put up for auction, the lower limit of its value was the sum of only 8 thousand euros. Examinations carried out by Stedel specialists proved that the painting is a genuine work of Raphael, in the creation of which his students also participated. Moreover, it is this variant of work that is most likely the earliest.
The exhibition is accompanied by a catalog edited by Professor Johann Sander, the responsible curator of the Stadel Museum, the German publishing house Michael Imhof Verlag. The catalog contains a detailed history, chronology and description of the portrait of Pope Julius II, which is owned by the Stadel Museum, and also includes the opinions of the most venerable professors and art historians who studied the painting after establishing its authenticity.
Between June 1511 and March 1512, Raffaello Santi (Urbino, 1483-1520 Rome) created a portrait of Giuliano della Rovere (1443-1513), who in 1503 became Pope Julius II, capturing this an outstanding figure of the Renaissance. But he created not just a portrait - Raphael’s canvas became the model and «classic standard» of the images of all the subsequent chapters of the Vatican, which is still in force. Julius II appears before us not in the parade dress for the liturgy, but in the «intimate» atmosphere of the individual audience, for which he took his place in the chair.
Rafael himself was extremely proud of the work done, and his contemporaries were so shocked by the masterpiece so vividly and accurately depicting the Pope (who, by the way, was not a «silent thoughtful old man», as on the canvas) that at the sight of it he trembled no less than in the presence the very Julius II. Not surprisingly, the picture gave rise to the creation of multiple copies, several of them were made in the workshops of Raphael himself, with his active participation (as, for example, work from the Uffizi Gallery, also presented at the exhibition). Another copy of the same portrait was created by another great artist of the Renaissance - Titian, his work is also represented at the exhibition. In his canvas, Titian pushed Julia aside and wrote it, as if from a lower point of view. Initially, the art critics believed that this was due to the desire to emphasize their authorship, but later, experts came to the conclusion that Titian thus «imperceptibly» emphasized the remoteness of the Pope from the people, his own greatness and power.
Unfortunately, the exhibition «Portrait of Pope Julia II», also created in Raphael’s studio, from the National Gallery of London (National Gallery in London), which is currently under restoration, was not included in the exhibition.
Presented at the exhibition infrared images of the picture produced in the laboratory of Stedel, allow you to see the changes made by the author in the process of creating the canvas. First of all, they relate to the face area, the location of Julius II in the armchair and the hands of the head of the Vatican.
«These changes, as well as the specificity of the picturesque performance, which in some respects directly refers us to the Sistine Madonna (Madonna di Foligno), convincingly show that in the process of development of Raphael’s own pictorial idea, this particular version of the canvas played a very important role, even despite the fact that, presumably, his students took part in his writing, «- explained Jochen Sander.
Most likely, in the infrared spectrum, we see the original version of the composition of the picture, rejected by Raphael already at the stage of creating the work. This is proved by the fact that the version of the painting, which is stored in Stedel, is the earliest, and it is from it that all subsequent copies of the canvas were written.
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