Raphael · Online Publications
Dr. rer. nat. Dipl. Rest. Heinrich Piening
Analyses of Painting Materials from Sept. 29th-30th 2017
The purpose of the examinations was to record the painting's condition as well as to identify the colourants used. The results are planned to be made accessible to experts specialized in Raffael.
In order to keep the original substance unaffected no samples were taken. Instead, only non-invasive methods of analysis were applied.
These were as follows:
About 50 measurements were carried out via μ-XRF and UV-VIS-spectroscopy. The measuring points were mapped and documented with position details (↓;→).
Juergen M. Lehmann
Copy of the exhibition catalog "RAPHAEL - The Holy Family with the Lamb of 1504 - The Original and its Variants" by Dr. Juergen M. Lehmann. The internet-publication shall provide the exhausted book to interested persons.
Copy of Luitpold Dussler's "RAPHAEL - A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries".
Publications by the Raffael Projekt
This publication presents a complete catalogue of Raphael's painted œuvre and will be published consecutively in four volumes. The first volume, devoted to Raphael's early works, appeared in 2001. The second, third, and fourth volume concentrate on the artist's years in Rome; of these, the volume II is published now, and the rest will appear later. Each volume consists of an introduction, a critical catalogue, a select bibliography and an extensive section with illustrations of the paintings and related drawings. The reason why the first two volumes deal mainly with the panel paintings, i.e., altarpieces, devotional paintings and portraits, is that these are most suitable for delineating Raphael's artistic progress.
Volume I: The three genres mentioned provide defining examples of Raphael's development from the early years in Umbria to his sojourn in Florence up to 1508, and of his artistic relationship with the great contemporaries as well as with fifteenth-century traditions. From the rich corpus of surviving studies, exemplary sketches for the paintings will be examined, as will drawings of subjects the artist contemplated but never realized in painting. The accompanying text aims therefore to describe the main outlines of Raphael's artistic development and provide insights into the unfolding of his personal language of forms. The catalogue section gives a close reading of the individual paintings together with a discussion of the relevant scholarly literature. The catalogue is arranged by genres, with each group treated in chronological order.
Volume II: During the Roman period, the commissions from popes and other high-ranking persons considerably extended Raphael's range of activities, while panel painting formed a progressively smaller part of his output. Yet it is these latter works that not only lead us straight to the characteristic features of his signature, but also allow us to trace the shifting nature of his explorations particularly well. The focus of our inquiry has completely changed since the early Umbrian and Florentine periods: It now becomes necessary to differentiate between the artist's contribution and that of his students, and, even more importantly, to define precisely Raphael's own pictorial concepts by comparison with those of his pupils and successors. The catalogue section follows the arrangement of the first volume.
Volume III: The third volume concerns itself with Raphael's Roman portraits. Although in number quite limited, they are nevertheless of major importance. The aim is to define the artist's newly developed concept of portraiture as it emerges in context. At the same time, the historical standing of the sitters will be discussed in detail.
Volume IV: The major subject of the fourth volume are Raphael's wall paintings, his great cycles in the Stanze for Popes Julius II and Leo X, the loggia of the Villa Farnesina and the loggias of the Vatican. Although the latter were almost completely executed by assistants, Raphael remained in charge of the whole programme and probably also of the pictorial concepts. Consideration will also be given to the fact that Raphael now developed decorative schemes that included both painted and plastered ornamentation. Therefore the Logetta and the Stufetta (bathroom) of Cardinal Bibbiena and the Villa Madama are to be included in the discussion. Besides the wall paintings, the cartoons for the Sistine Chapel tapestries will naturally receive much attention. Here again it is crucial to distinguish Raphael's artistic concepts from the works produced by his school.
Supported by the Raffael Projekt