1000 Drawings of Genius. Victoria Charles
1472–1517, Italian, Flying Angel, date unknown. Black pencil, stump and white chalk on watermarked paper, 19.2 × 16.5 cm. Galleria degli Uffizi, Florence. High Renaissance.
138. Vittore Carpaccio, 1460/1466?-1525/1526, Italian, Sacra Conversazione, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.
139. Hieronymus Bosch, c. 1450–1516, Flemish, Two Fantastic Creatures, date unknown. Pen and brown ink on paper, 16.3 × 11.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.
140. Fra Bartolomeo (Bartolommeo della Porta), c. 1472–1517, Italian, View of the Santissima Annunziata, c. 1500–1510. Pen on white paper, 21 × 28.3 cm. Galleria degli Uffizi, Florence. High Renaissance.
141 Hieronymus Bosch, c. 1450–1516, Flemish, The Field Has Eyes, the Forest Has Ears, c. 1500. Pen and brown ink on paper, 20.2 × 12.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.
142. Leonardo da Vinci, 1452–1519, Italian, Bust of a Young Woman, c. 1501. Red chalk and silverpoint on paper. Galleria dell’Accademia, Venice. High Renaissance.
143. Leonardo da Vinci, 1452–1519, Italian, Grotesque Head, c. 1503–1507. Black chalk on paper, 39 × 28 cm. Christ Church Picture Gallery, Oxford. High Renaissance.
144. Leonardo da Vinci, 1452–1519, Italian, Study of two warriors’ heads for The Battle of Anghiari, c. 1504–1505. Charcoal on paper, 19.1 × 18.8 cm. Szépmu”vészeti Múzeum, Budapest. High Renaissance.
145. Raphael (Raffaello Sanzio), 1483–1520, Italian, Head of a Boy with a Cap, c. 1502–1503. Black chalk with highlights in white on paper, 21.2 × 18.6 cm. Palais des Beaux-Arts, Lille. High Renaissance.
RAPHAEL (Raffaello Sanzio)
(Urbino, 1483 – Rome, 1520)
Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words, “pure and perfect harmony,” express, in fact, better than any others, what Raphael brought to Italian art. From Perugino, he gathered all the weak grace and gentility of the Umbrian School, he acquired strength and certainty in Florence, and he created a style based on the fusion of Leonardo’s and Michelangelo’s lessons under the light of his own noble spirit.
His compositions on the traditional theme of the Virgin and Child seemed intensely novel to his contemporaries, and only their time-honoured glory prevents us now from perceiving their originality. He has an even more magnificent claim in the composition and realisation of those frescos with which, from 1509, he adorned the Stanze and the Loggia at the Vatican. The sublime, which Michelangelo attained by his ardour and passion, Raphael attained by the sovereign balance of intelligence and sensibility. One of his masterpieces, The School of Athens, was created by genius: the multiple detail, the portrait heads, the suppleness of gesture, the ease of composition, and the life circulating everywhere within the light are his most admirable and identifiable traits.
146. Albrecht Dürer, 1471–1528, German, Creszentia Pirckheimer, 1503. Charcoal, white highlights, 32 × 21.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.
147. Albrecht Dürer, 1471–1528, German, Willibald Pirckheimer, 1503. Charcoal, 28.2 × 20.8 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.
148. Leonardo da Vinci, 1452–1519, Italian, Leda and the Swan, c. 1503–1504. Pen, ink and wash over black chalk on paper, 16 × 13.9 cm. Devonshire Collection, Chatsworth. High Renaissance.
149. Albrecht Dürer, 1471–1528, German, Study of Pope’s Head, c. 1506. Paintbrush, white highlights on paper, 19.7 × 19.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.
150. Michelangelo Buonarroti, 1475–1564, Italian, Male Nude, Seen from the Rear, c. 1503–1504. Black pencil on paper, 28.2 × 20.3 cm. Musée du Louvre, Paris. High Renaissance.
151. Raphael (Raffaello Sanzio), 1483–1520, Italian, Portrait of the Doge Leonardo Loredan, c. 1504–1505. Metalpoint, 12.1 × 10.4 cm. Palais des Beaux-Arts, Lille. High Renaissance.
152. Albrecht Dürer, 1471–1528, German, Adam and Eve, 1504. Pen and watercolour, 24.2 × 20.1 cm. The Morgan Library and Museum, New York. Northern Renaissance.
153. Hieronymus Bosch, c. 1450–1516, Flemish, The Tree Man, c. 1505. Pen in brown ink, 27.7 × 21.1 cm. Albertina, Vienna. Northern Renaissance.
154. Hans Baldung Grien, 1484/1485-1545, German, Phyllis Sitting on the Back of Crawling Aristotle, 1503. Pen and black ink, 28.1 × 20.1 cm. Musée du Louvre, Paris. Northern Renaissance.
155. Leonardo da Vinci, 1452–1519, Italian, Studies for the Christ Child with a Lamb, c. 1503–1506. Pen and brown ink and black chalk, 21 × 14.2 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.
156. Albrecht Altdorfer, c. 1480–1538, German, Samson and Delilah, 1506. Pen and black ink with white heightening on brown prepared paper, 17.1 × 12.2 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.
157. Raphael (Raffaello Sanzio), 1483–1520, Italian, Portrait of a Woman, c. 1505–1507. Pen, brown ink and black chalk on paper, 22.2 × 15.9 cm. Musée du Louvre, Paris. High Renaissance.
158. Hans Baldung Grien, 1484/1485-1545, German, Saint Catherine Leaning on a Sword, c. 1503–1504. Pen and brown ink, 27.4 × 13.3 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.
159. Raphael (Raffaello Sanzio), 1483–1520, Italian, Study for The School of Athens, c. 1509. Pen and ink on white paper.Galleria degli Uffizi, Florence. High Renaissance.
160. Albrecht Dürer, 1471–1528, German, Head Study of an African, 1508. Charcoal, 32.0 × 21.8 cm. Albertina, Vienna. Northern Renaissance.
161. Lucas Cranach the Elder, 1472–1553, German, Head of a Young Boy, c. 1509. Brown and black ink, grey and ochre washes and gouache, 21.6 × 17.1 cm. Musée du Louvre, Paris. Northern Renaissance.
162. Raphael