Login
Invisible perfection : eighteenth-century artists' perplexity over Raphael's Stanza della Segnatura
Résumé Examines accounts by several artists of their first encounter with Raphael's frescoes in the Stanza della Segnatura in the Vatican. Begins with Roger de Piles's version (in his Cours de peinture par principes of 1708) and ends with Joshua Reynolds's, including discussion of the latter's Parody of the School of Athens (1751; Dublin, National Gallery of Ireland) made at the time of his first visit to the Vatican. Shows how the same story was appropriated and manipulated and thus had its meaning changed over the course of the 18th c.
   
Mots-clés Anecdote-, Cours-de-peinture-par-principes, Dublin, -IRL, -National-Gallery-of-Ireland, France-, Grande-Bretagne, Italie-, Parodie-de-lkEcole-dkAthenes, Peinture-, Peinture-murale, Piles, -Roger-de, -1635-1709, Raffaello-Sanzio, -1483-1520, Reynolds, -Joshua,
   
Citation Griener, P. (2003). Invisible perfection : eighteenth-century artists' perplexity over Raphael's Stanza della Segnatura. In J. Nathan, & A. Roesler-Friedenthal (Eds.) The Enduring Instant. Time and the Spectator in the Visual Arts. (pp. 71-79). Berlin: Mann.
   
Type Chapitre de livre (Français)
Année 2003
Editeur Johannes Nathan, Antoinette Roesler-Friedenthal
Titre du livre The Enduring Instant. Time and the Spectator in the Visual Arts
Editeur commercial Mann (Berlin)
Pages 71-79
Titre de la collection The Enduring Instant. Time and the Spectator in the Visual Arts