RAPHAELTHE TRIUMPH OF PERFECTION

SIXTEENTH-CENTURY ITALIAN DRAWINGS AND PRINTSFROM THE MUSEUM OF FINE ARTS, BUDAPEST

EXHIBITED WORKS

Along with Leonardo and Michelangelo, Raphael, the youngest of the famous master triad of the High Renaissance, made an exceptionally

deep impression on Italian art. Despite of his short career concentrated in Rome between 1508 and 1520, there was no artist untouched by his classical style. In his large workshop, many gifted young artists, such as Giulio Romano, Perino del Vaga, Polidoro da Caravaggio and Giovanni da Udine, worked under Raphael’s supervision as associates and assistants, participating in the execution of his numerous significant commissions. After Raphael’s premature death, members of his workshop completed their master’s suddenly interrupted projects and started their own flourishing careers.

The Collection of Drawings and Prints in Budapest preserves six draw-ings by Raphael: an early study for his first Perugian altarpiece, the Oddi Coronation of the Virgin, a study for Saint Jerome from his stay in Florence, the compositional sketch for the Disputa in the Vatican Palace, a powerful Angel Head for the Sala di Costantino a unique preliminary drawing for the renowned Massacre of the Innocents engraved by Marcantonio Raimondi, and the silverpoint Venus, a superb masterpiece of the High Renaissance.

Our collection is also remarkable for the drawings by Raphael’s pupils, including ten authentic works by his most successful former assistant Giulio Romano, fifteen by Perino del Vaga and three by Polidoro da Caravaggio. We also own a beautiful series of five drawings by Tommaso Vincidor representing Giochi di Putti for the Medici Tapestries. A remarkable study from the circle of Raphael was drawn immediately after the excavation of the Laocoön group and represents the statue in its original state before the addition of supplements.

Beside the Antique, young artists in Rome diligently copied Raphael’s works, and their studies quickly transmitted the master’s vocabulary throughout Italy. Parmigianino was an eminent artist of the new generation and one of the most original inventors of Italian Mannerism, many of whose Roman studies clearly reflect Raphael’s compositions. Raphael was a major source also for Giovanni Battista Franco, who played an important role in the dissemination of Central Italian art in mid-sixteenth-century Venice.

Raphael was the first sixteenth-century painter who recognised the advantages of reproducing his compositions in print. From the early 1510s printmakers working closely with his workshop, above all the most eminent engraver of the period Marcantonio Raimondi, were conducting a very successful undertaking. The appointment of Baviero de’ Carocci, Raphael’s former assistant to supervise the publication of prints after the painter’s designs marks the birth of the highly organized print publishing business in Rome. Along with Marcantonio Raimondi’s engravings, works by the most excellent printmakers, such as Jacopo Caraglio, Agostino Veneziano and Marco Dente, as well as by the outstanding chiaroscuro woodcutter Ugo da Carpi well illus-trate Raphael’s dominant role in contemporary Italian printmaking.

The sixty masterpieces in the exhibition demonstrate Raphael’s genius as well as the next generation’s relation to his unparalleled artistic legacy. It is the first occasion that the Esterházy Madonna is exhibited in the context of draw-ings. Its underdrawing visible even to the naked eye, supported by a recent technical analysis, offers an extraordinary occasion to understand Raphael’s working method. The exhibition provided occasion for the technical exam-ination of Raphael’s drawings, the results of which are first published in the volume accompanying the show.

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1 RAPHAEL (1483−1520)

The Assumption of the Virgin c. 1503−4 Pen and brown ink, some traces of black chalk, a fragmentary motif in red chalk 158 × 193 mm Inv. no. 1779

2 RAPHAEL (1483−1520)

Nude Studies, probably for Saint Jerome c. 1504−5 Pen and brown ink 238 × 146 mm Inv. no. 1936

3 ANTONIO POLLAIUOLO (1432−1498)

Battle of the Nudes c. 1470−75 Engraving 407 × 590 mm Inv. no. 25094

4 RAPHAEL (1483−1520)

The Massacre of the Innocents c. 1511−12 Pen and brown ink 260 × 400 mm Inv. no. 2195

5 MARCANTONIO RAIMONDI (1470/82−1527/34) RAPHAEL (1483−1520)

The Massacre of the Innocents (with fir tree) c. 1511−12 Engraving 277 × 428 mm Inv. no. 5536

6 MARCANTONIO RAIMONDI (1470/82−1527/34) RAPHAEL (1483−1520)

The Massacre of the Innocents (without fir tree) c. 1513−15 Engraving 277 × 425 mm Inv. no. H.6871

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7 PARMIGIANINO (1503−1540)

Sleeping Cupid c. 1524−30 Etching and engraving 65 × 100 mm Inv. no. 6291

8 MASTER ND (fl c. 1520−50) AFTER GIULIO ROMANO (?1499−1546)

The Massacre of the Innocents 1544 Chiaroscuro woodcut from three blocks 292 × 510 mm Inv. no. 7333

9 RAPHAEL (1483−1520)

Design for a Temporary Decoration (recto) after 1509

Sketches for the Disputa (verso) c. 1508–9 Pen and brown ink, over black chalk 200 × 153 mm Inv. no. 1935

10 GIOVANNI BATTISTA FRANCO (?1510−1561)

Study for a Group, after Raphael's Disputa c. 1545 Pen and wash in brown ink, over black chalk 241 × 395 mm Inv. no. 2196

11 MARCANTONIO RAIMONDI (1470/82−1527/34) RAPHAEL (1483−1520)

Parnassus c. 1517−20 Engraving 353 × 468 mm Inv. no. 25102

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12 GIORGIO GHISI (1520−1582) AFTER RAPHAEL (1483−1520)

The School of Athens 1550 Engraving 500 × 397 mm Inv. no. 25380

13 ANONYMOUS ARTIST

Laocoön c. 1509−10 Pen and wash in brown ink 473 × 325 mm Inv. no. K.58.983

14 MARCO DENTE (?−1527)

Laocoön c. 1520−25 Engraving 464 × 326 mm Inv. no. 6843

15 MARCO DENTE (?−1527) PROBABLY AFTER RAPHAEL (1483−1520)

Laocoön c. 1517−19 Engraving 276 × 392 mm Inv. no. 6863

16 MODERNO (1467–1528)

The Flagellation of Christ c. 1506–9 Bronze 143 × 108 mm Inv. no. 7438

17 GIULIO ROMANO (?1499–1546)

Frieze of an Acanthus Scroll c. 1520 Pen and brown ink 264 × 148 mm Inv. no. 1876

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18 MARCO DENTE (?−1527)

Ornamental Panel early 1520s Engraving 212 × 139 mm Inv. no. 6833

19 PERINO DEL VAGA (1501−1547)

Studies for Grotesques c. 1545 Pen and brown ink 277 × 185 mm Inv. no. 1917-191

20 PERINO DEL VAGA (1501−1547)

Studies for Friezes and a Crouching Female Nude (recto)

Studies of Figures and a Frieze (verso)

c. 1537−39 Pen and brown ink, some traces of red chalk 275 × 395 mm Inv. no. 1864

21 MARCANTONIO RAIMONDI (1470/82−1527/34)

Crouching Venus c. 1509 Engraving 222 × 148 mm Inv. no. 5610

22 RAPHAEL (1483−1520)

Venus c. 1511−14 Silverpoint 190 × 75 mm Inv. no. 1934

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23 MARCANTONIO RAIMONDI (1470/82−1527/34) RAPHAEL (1483−1520)

The Judgement of Paris c. 1518−20 Engraving 292 × 435 mm Inv. no. 5516

24 GIULIO BONASONE (c. 1510−after 1576)

The Judgement of Paris mid-1560s Etching 298 × 458 mm Inv. no. 6421

25 GIOVANNI BATTISTA SCULTORI (1503−1575)

Mars and Venus 1539 Engraving 283 × 202 mm Inv. no. 5269

26 GIULIO ROMANO (?1499−1546)

Erotic Scene after 1524 Pen and wash in brown ink, over black chalk, heightened with white 130 × 226 mm Inv. no. 2419

27 MARCANTONIO RAIMONDI (1470/82−1527/34)

Bacchanal early 1510s Engraving 148 × 503 mm Inv. no. 5532

28 MARCANTONIO RAIMONDI (1470/82−1527/34) AFTER RAPHAEL (1483−1520)

Pan and the Infant Bacchus c. 1515−16 Engraving 125 × 92 mm Inv. no. 5616

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29 JACOPO CARAGLIO (c. 1500/5–1565) AFTER PERINO DEL VAGA (1501–1547)

Vertumnus and Pomona 1527 Engraving 210 × 136 mm Inv. no. 6758

32 PERINO DEL VAGA (1501–1547)

Battle of Centaurs and Lapiths c. 1545–47 Black chalk 197 × 284 mm Inv. no. 1868

33 PERINO DEL VAGA (1501–1547)

Sketches for the Decoration of a Ceiling c. 1528–30 Pen and brown ink 203 × 150 mm Inv. no. 1930

30 JACOPO CARAGLIO (c. 1500/5–1565) AFTER PERINO DEL VAGA (1501–1547)

Jupiter and Mnemosyne 1527 Engraving 211 × 135 mm Inv. no. 6748

31PERINO DEL VAGA (1501–1547)

Study for Saint George and the Dragon (recto)

Figure Studies (verso) c. 1535

Pen and brown ink, over red chalk 215 × 258 mm Inv. no. 1794

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34 PERINO DEL VAGA (1501–1547)

Study for a Wall Decoration c. 1537 Pen and wash in brown and grey ink, over black chalk 420 × 290 mm Inv. no. 1838

35 POLIDORO DA CARAVAGGIO (c. 1499–c. 1543)

Design for a Decoration c. 1520–24 Pen and wash in brown ink 320 × 217 mm Inv. no. 1858

36 GIULIO ROMANO (?1499–1546)

The Entombment Late 1520s Pen and brown ink, over black chalk 143 × 215 mm Inv. no. 1877

37 GIULIO ROMANO (?1499–1546)

A Repast c. 1531–34 Pen and wash in brown ink, over black chalk, heightened with white 220 × 417 mm Inv. no. 2126

38 RAPHAEL (1483–1520)

Head of an Angel c. 1519–20 Greyish black chalk or charcoal and brownish charcoal, heightened with white 308 × 254 mm Inv. no. 1943

39 ATTRIBUTED TO PERINO DEL VAGA (1501–1547)

The Triumph of David c. 1516–19 Pen and wash in brown ink 262 × 397 mm Inv. no. 2194

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40 RAPHAEL (1483–1520)

Esterházy Madonna c. 1507–8 Tempera and oil, on panel 28.5 × 21.5 cm Inv. no. 71

41 ALBRECHT DüRER (1471–1528)

The Visitation c. 1503–4 Woodcut 298 × 210 mm Inv. no. 1913-456

42 MARCANTONIO RAIMONDI (1470/82−1527/34) AFTER ALBRECHT DüRER (1471–1528)

The Visitation c. 1506–8 Engraving 292 × 211 mm Inv. no. 5683

43 MARCANTONIO RAIMONDI (1470/82−1527/34)

David c. 1506 Engraving 170 × 107 mm Inv. no. 5570

44 MARCANTONIO RAIMONDI (1470/82−1527/34) PROBABLY AFTER GIORGIONE (?1477/8−1510)

The Dream of Raphael c. 1507−8 Engraving 235 × 333 mm Inv. no. 5542

45 MARCANTONIO RAIMONDI (1470/82−1527/34) RAPHAEL (1483−1520)

The Plague (The Morbetto) c. 1515−16 Engraving 198 × 253 mm Inv. no. 5786

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46 MARCANTONIO RAIMONDI (1470/82−1527/34) PROBABLY AFTER GIULIO ROMANO (?1499–1546)

The Carcass (Lo Stregozzo) c. 1520 Engraving and etching 300 × 631 mm Inv. no. 25099

48 GIOVANNI BATTISTA FRANCO (?1510−1561) AFTER RAPHAEL (1483–1520)

Saints Peter and John Healing a Lame Man mid-1540s Etching and engraving 272 × 406 mm Inv. no. 7043

47 PARMIGIANINO (1503−1540) AFTER RAPHAEL (1483–1520)

Saints Peter and John Healing a Lame Man c. 1524−30 Etching, engraving, chiaroscuro woodcut from two blocks 268 × 401 mm Inv. no. 6286

49 UGO DA CARPI (fl c. 1502−32) AFTER RAPHAEL (1483−1520)

The Miraculous Draught of Fishes c. 1527−30 Chiaroscuro woodcut from three blocks 231 × 345 mm Inv. no. 6136

50 ANDREA SCHIAVONE (c. 1510−1563) AFTER RAPHAEL (1483−1520)

The Miraculous Draught of Fishes c. 1548−52 Etching 191 × 271 mm Inv. no. 6308

51 ANTONIO FANTUzzI (fl 1537−50) PROBABLY AFTER RAPHAEL (1483−1520)

The Miraculous Draught of Fishes 1540s Etching 261 × 328 mm Inv. no. 5901

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52 TOMMASO VINCIDOR (?–1534) AFTER RAPHAEL (1483–1520)

Playing Putti c. 1520 Pen and wash in brown ink, black chalk, heightened 213 × 288 mm Inv. no. 2266

53 MASTER OF THE DIE (fl c. 1530–60) AFTER RAPHAEL (1483–1520)

Putti Playing 1532 Engraving 187 × 285 mm Inv. no. 46052

54 MARCANTONIO RAIMONDI (1470/82−1527/34) RAPHAEL (1483−1520)

Quos Ego c. 1515−16 Engraving 430 × 330 mm Inv. no. 5595

55 PARMIGIANINO (1503−1540)

Compositional Study with the Life of the Virgin c. 1524−27 Pen and wash in grey ink 191 × 129 mm Inv. no. 1893

56 PARMIGIANINO (1503−1540)

Study for a Group c. 1525−27 Pen and wash in brown ink, over black chalk, heightened with white, on pink prepared paper 143 × 161 mm Inv. no. 1888

57 MARCANTONIO RAIMONDI (1470/82−1527/34) AFTER RAPHAEL (1483−1520)

The Martyrdom of Saint Cecilia c. 1520−25 Engraving 238 × 405 mm Inv. no. 5517

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58 JACOPO CARAGLIO (c. 1500/5–1565) PARMIGIANINO (1503–1540)

The Martyrdom of Two Saints c. 1527 Engraving 258 × 451 mm Inv. no. 46019

59 MARCANTONIO RAIMONDI (1470/82−1527/34) AFTER RAPHAEL (1483−1520)

Lucretia c. 1511−12 Engraving 205 × 129 mm Inv. no. 5585

60 PARMIGIANINO (1503−1540)

Studies for Lucretia, Proserpina, and Mercury c. 1535−38 Pen and wash in brown ink, heightened with white 188 × 96 mm Inv. no. 1883