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Journal articles on the topic 'Portrait of la Fornarina (Raphael)'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Espinel, Carlos Hugo. "The portrait of breast cancer and Raphael's La Fornarina." Lancet 360, no. 9350 (December 2002): 2061–63. http://dx.doi.org/10.1016/s0140-6736(02)11997-0.

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2

McVaugh, Robert E. "Turner and Rome, Raphael and the Fornarina." Studies in Romanticism 26, no. 3 (1987): 365. http://dx.doi.org/10.2307/25600666.

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3

Walek, Janusz. "The Czartoryski "Portrait of a Youth" by Raphael." Artibus et Historiae 12, no. 24 (1991): 201. http://dx.doi.org/10.2307/1483421.

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4

Craven, Jennifer. "Ut pictura poesis: a new reading of Raphael's portrait ofLa Fornarinaas a Petrarchan allegory of painting, fame and desire." Word & Image 10, no. 4 (October 1994): 371–94. http://dx.doi.org/10.1080/02666286.1994.10435523.

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5

Lucco, Mauro. "A New Portrait by Raphael and Its Historical Context." Artibus et Historiae 21, no. 41 (2000): 49. http://dx.doi.org/10.2307/1483635.

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6

Kospolova, N. E. "Inversion of image of Raphael's sublime women." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (July 1, 2020): 33–41. http://dx.doi.org/10.33920/nik-01-2007-05.

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The main idea of research is proof of productivity applications for interdisciplinary research on fine art material. Synthesis of comparative analysis, evolutionary analysis, psychological analysis, theological and anthropological reconstruction personification helps predict nonstandard conclusions concerning allegations of territorial integrity also referred to as omnisexuality image Madonnas by Raphael. Work belies the established views and controversial version ofthe art of the past on the canonicity of iconographic images of Raphael and nominated as exemplars of transcendental creativity at the transition to the Renaissance and during his heyday names Da Messina and Botticelli. Examines the reception of anthropological analogy as a phenomenon. The hypothesis is proved the simultaneous evolution of technology of a portrait of Raphael and inversion of the iconography of women's images in his works.

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7

MacCannell, Daniel. "King Henry IX, or cardinal called York? Henry Benedict Stuart and the reality of kingship." Innes Review 58, no. 2 (November 2007): 196–209. http://dx.doi.org/10.3366/e0020157x07000066.

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A picture belonging to the National Portrait Gallery, London, attributed as of 1958 to Pompeo Batoni,1 is now listed as ‘Unknown Cardinal, formerly known as Henry Benedict Maria Clement Stuart, Cardinal York, [by the] circle of Anton Raphael Mengs’ ( Fig. 1 ).2 It is not the identity of the artist that poses the central question of this article, but of the sitter – in this, and in a very different painting: the Scottish National Portrait Gallery's Prince Charles Edward Stuart, by Maurice Quentin de La Tour ( Fig. 2 ).3

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8

Barnes, Bernadine, David Alan Brown, Jane Van Nimmen, and Giorgio Vasari. "Raphael and the Beautiful Banker: The Story of the Bindo Altoviti Portrait." Sixteenth Century Journal 37, no. 4 (December 1, 2006): 1230. http://dx.doi.org/10.2307/20478231.

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9

BAGGS, BOB. "RAPHAEL & THE BEAUTIFUL BANKER: THE STORY BEHIND THE BINDO ALTOVITI PORTRAIT." Art Book 13, no. 2 (May 2006): 30–32. http://dx.doi.org/10.1111/j.1467-8357.2006.00663.x.

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10

Russell, I. Jon. "Portrait of a Young Woman [La Muta], 1507 by Raphael, Italian [1483–1520]." Journal of Musculoskeletal Pain 21, no. 4 (November 21, 2013): 299–304. http://dx.doi.org/10.3109/10582452.2013.855288.

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11

Mancel, François. "Raphaël Hythlodée et l’utopique Cité des Anges." Moreana 49 (Number 187-, no. 1-2 (June 2012): 183–205. http://dx.doi.org/10.3366/more.2012.49.1-2.10.

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This article wishes to elucidate two capital mysteries of Thomas More’s Utopia, which have remained unsolved nearly five hundred years after its publication: who hides behind the fictional portrait of Raphael Hythloday? And can we discover a plausible model of the island of Utopia somewhere on earth, in Thomas More’s time? This study shows that the never really abandoned thesis of recognizing Erasmus in Hythloday, is today reinforced by new suggestions, even if Erasmus is to share the embodiment of Hythloday with a Portuguese adventurer-writer. Besides, and although Thomas More asserts that Raphael is back from the Southern hemisphere, this essay also wishes to point out the surprising similarities between the Utopian island, with its capital Amaurot, and 16th century Siam, a land which, in Hythloday’s view, offered a reversed image of England.

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12

Amendola, Adriano. "The warrior collector." Journal of the History of Collections 32, no. 1 (January 18, 2019): 13–24. http://dx.doi.org/10.1093/jhc/fhy064.

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Abstract The essay focuses on the military commander Giovanni Battista Castaldo (1493–1563), aiming to reconstruct this figure as a collector and patron. The author analyses the reasons that led Castaldo to found the monastery of Santa Maria ad Montem in Nocera de’ Pagani, where can still be found his portrait bust, here attributed to Annibale Fontana. In the monastery was exhibited the Madonna d’Alba by Raphael, here identified for the first time as the source of a work by Dirk Hendricsz, the presence of Raphael’s canvas in Nocera clarifies the pivotal role played by the painting for the artists working in the Spanish Viceregno.

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13

Pichugina, Olga K., and Denis V. Ilitchev. "“THE MADONNA WITH A VEIL” BY RAPHAEL SANTI. ORIGINAL. COPIES. IMITATIONS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 172–83. http://dx.doi.org/10.17223/22220836/40/14.

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The article is devoted to the history of the existence and technique of the original, copies and imitations of the Madonna with the Raphael Madonna del velo, one of the most popular objects of copying in the European pictorial culture of the 16th – 17th centuries. The history of the original Raphael is closely connected with the medieval icon of Madonna del Popolo, revered as the hand-made work of the apostle Luke and the lifetime portrait of the Mother of God. The glory of the medieval original in the eyes of contemporaries was projected onto the picture of Raphael, giving it the status of an actual interpretation of the ancient shrine. This explains the special interest in its copying. During the 16th century, the original Raphael, now stored in the Conde Museum in Chantilly, France, was updated, radically changing the plot of the work. In the XVII century, imitations of Raphael's paintings were often distributed, often created by large masters. The article deals with the methods of copying, typical for artistic practice of the 16th century. As a rule, the painting, which came out of the walls of the workshops of famous artists, was the product of the collective work of the master – the owner of the workshop, apprentices and pupils. The finished composite composition created by the master was previously performed in the form of a cardboard-priporokh, the so-called spolvero, with which it was transferred to a picturesque base. The cardboards were carefully preserved, donated and handed down by inheritance. Traces of spolvero are found in the original Madonna del velo. Currently in the scientific literature there are references to more than one hundred copies of the Madonna with a veil. Some of them are considered works of the 16th century. The most famous copies are kept in the Louvre, the Center of P. Getty, the collection of D.P. Morgan and Del Drago. The Louvre copy of the painting is considered the closest to the original. In all of these works, the drawing of the part of the composition related to the initial version of the original is relatively accurately reproduced. The figure of Josef, which appeared later, is reproduced in different versions with significant variation in the position and proportions of the head and hand drawing. It can be assumed that the compositions of early copies were created either directly from Rafael’s cardboard. Or usеd copies from it. The figure of Josef may have been directly copied from the original or created from cardboard, in which the drowing was of simplified schematic nature. Two-figured copy of the painting, displaced from panel to canvas by one of the Russian school of restoration A.F. Mitrokhin in 1827, kept in the Urals in the Art Museum of Yeraterinburg.

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14

Henry, Tom. "Raphael, Cellini, and a Renaissance Banker. The Patronage of Bindo Altoviti Raphael and the Beautiful Banker. The Story of the Bindo Altoviti Portrait Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle." Journal of the History of Collections 18, no. 1 (March 31, 2006): 89–90. http://dx.doi.org/10.1093/jhc/fhl004.

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15

Hamori, Andras. "Ignaz Goldziher and His Oriental Diary: A Translation and Psychological Portrait, by Raphael Patai. 165 pages. Wayne State University Press, Detroit1987." Middle East Studies Association Bulletin 21, no. 2 (December 1987): 244–45. http://dx.doi.org/10.1017/s0026318400019210.

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16

Grabski, Jozef. "The Lost "Portrait of a Young Man" (Attributed to Raphael) from the Collection of the Princes Czartoryski Family in Cracow. A Contribution to Studies on the Typology of the Renaissance Portrait." Artibus et Historiae 25, no. 50 (2004): 215. http://dx.doi.org/10.2307/1483795.

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17

Conrad, Lawrence I. "The Near East study tour diary of Ignaz Goldziher." Journal of the Royal Asiatic Society of Great Britain & Ireland 122, no. 1 (January 1990): 105–26. http://dx.doi.org/10.1017/s0035869x00107890.

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Ignaz Goldziher (1850–1921) is generally acknowledged as the scholar whose work to a great extent laid the modern foundations for the study in the West of the history, culture, and religion of Islam. Issues of considerable significance are thus posed by questions concerning the individual responsible for this seminal scholarship, including, for example, such matters as his personal background, the influences that directed the course of his intellectual development, and the perspective from which he viewed the discipline he did so much to create and to which he dedicated his life. Fortunately, much material relevant to the investigation of these topics survives. In addition to Goldziher's vast scholarly corpus, important collections of his correspondence with colleagues and friends are extant, primarily in Budapest. The material published to date includes Goldziher's letters to Immanuel Löw (1854–1944), a discussion – with important extracts – of those to S. A. Poznanski (1864–1921), the letters of Solomon Schechter (1849–1915), Max Nordau (1849–1923) and Christiaan Snouck Hurgronje (1857–1936) to Goldziher, and a selection from the correspondence between Theodor Nöldeke (1836–1930) and Goldziher. His 1890 memoirs and subsequent diary have also been published, and Raphael Patai has now brought to light another important document, Goldziher'sKeleti Naplóm(“My Oriental Diary”), in English translation with a detailed introduction offering a psychological portrait of the author.

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18

Remennick, Larissa. "Ex-Somets in Israel: From Personal Narratives to a Group Portrait. By Larisa Fialkova and Maria N. Yelenevskaya. Raphael Patai Series in Jewish Folklore and Anthropology. Detroit: Wayne State University Press, 2007. xiii, 373 pp. Appendix. Notes. Bibliography. Indexes. Illustrations. Photographs. Figures. $49.95, hard bound." Slavic Review 67, no. 3 (2008): 800–801. http://dx.doi.org/10.2307/27653011.

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19

Filippova, Olga. "PORTRAIT IN THE CREATIVE WORKS OF RAPHAEL (1483-1520)." Young Scientist 6, no. 70 (June 2019). http://dx.doi.org/10.32839/2304-5809/2019-6-70-60.

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20

"Raphael and the beautiful banker: the story of the Bindo Altoviti portrait." Choice Reviews Online 43, no. 08 (April 1, 2006): 43–4440. http://dx.doi.org/10.5860/choice.43-4440.

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21

Faietti, Marzia. "LEONE X E LEOPOLDO DE’ MEDICI COMMITTENTI E COLLEZIONISTI DI RAFFAELLO: TRE ESEMPI." Istituto Lombardo - Accademia di Scienze e Lettere • Rendiconti di Lettere, July 20, 2021. http://dx.doi.org/10.4081/lettere.2020.761.

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Leo X and Leopoldo de ‘Medici, patrons and collectors of Raphael: three examples. Today, the great majority of Raphael’s works in the Uffizi exist thanks to the Medici art collections of the early 1500s to the early 1670s. It is therefore possible to assert that this Florentine family had a particular taste for Raphael’s works. However, not all the paintings collected in that time reflect the Medicis’ artistic interests, as many of them came from expropriations or bequests and inheritances. Despite this, one artistic genre, more than others, appears to be particularly representative of the Medici family’s interest: the portrait. The aim of this paper is to identify some trends concerning the Medicis’ taste in the portrait and self-portrait. In doing so, three artworks – preserved in the Gallerie degli Uffizi – will be examined here: the Portrait of Leo X with Cardinals Giulio de ‘Medici and Luigi de’ Rossi; the Portrait of Tommaso Inghirami, known as Fedra; and Raphael’s self-portrait. These examples show how the artistic execution of Raphael’s artworks, or their later inclusion in the Medici collection (following Raphael’s death), depended on two main Medici personalities, namely Leo X and the prince and cardinal Leopoldo. Moreover, such portraits also reflect the three main recurrent circumstances under which works would usually be included in the Medici collection. The first concerned the creation of the artwork through a direct relationship between patron and artist (and, here, reciprocal incentives from one to the other can be seen). The second had to do with a consolidated taste of the Medicis in creating a collection of artistic portraits and, here, the acquisition of the artwork perfectly reflects this artistic taste. In the third case, we will see how the desire for a complete collection of artistic self-portraits sometimes brought the collector to acquire artworks that did not exactly correspond to their tastes.

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