Reconsidering Raphael in 2020 flyer

Journal of Art Historiography, No. 20, June 2019

April 6, 2020 marked the quincentenary of the death of Raffaello Sanzio (1483-1520), one of the most brilliant and consequential artists in the western tradition. Praised during his lifetime as "Prince of Painters" (pictorum princeps), a description rendered indelible by Giorgio Vasari, this characterization long served to obscure Raphael's artistic achievements in other modes. He was in reality an impresario in many media: revered in his own day as Rome's chief architect, Raphael was also an urbanist and a designer of landscape, as well as of sculpture, silver, prints, and tapestries. A series of international conferences and exhibitions held in 1983-84, the quincentenary of the artist's birth, was a watershed in Raphael studies, and in the intervening years, building on those events and publications, new understandings of Raphael have begun to take form, not only as a designer in an array of media, but also in terms of his collaboration with other artists, patrons, advisors, and literati. This conference dedicated to Raphael brings together established and emerging scholars to take stock of what has been accomplished in the past 37 years, to assess current approaches to his astonishingly innovative, diverse, and influential body of work, to present new research, and to chart directions for further study. Expanding upon well-established lines of inquiry, the program reflects new approaches to the quintessential old master Friday, April 9, 2021

Artibus et Historiae, 2009

This essay addresses the renewed controversy regarding Raphael Santi's initial training and introduces substantive evidence in support of the hypothesis that he received his first training from his father Giovanni Santi in Urbino. In addition to documentary and formal evidence, the young artist's strong attachment to his father's artistic practice on a more conceptional level is explored. Interests, including the use of geometric compositional formulas, witty devotional concetti, and above all his intense preoccupation with returning to the specific sources that engaged Giovanni Santi — for instance Quattrocento sculpture, first known through his father's inexact copies and subsequently through direct study of the sculptures themselves — illuminate the formal and intellectual foundations of Raphael's art.

Renaissance and Reformation / Renaissance et Réforme 42, no.1 (2019): 424-27.

The Sixteenth Century Journal, 2006

Program of the conference held in London at the National Gallery, 24-25.06.22

Raphael and the Classical Canon. Masterpieces from the Accademia Nazionale di San Luca, catalogo della mostra, Nanshan Museum, 2021

Space, Image, and Reform in Early Modern Art, 2021

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Anales de Historia del Arte, 2023

As Raphael (1483-1520) had done before him, Carlo Maratti (1625-1713) supervised one of the most renowned artistic schools of the day and became one of Rome's most prominent painters. A major point of comparison between Maratti, Raphael and Annibale Carracci (1560-1609) was that they were the best draftsmen of their time and got much of their inspiration in the ancient world. Based on primary sources such as his biographies by Giovan Pietro Bellori (1613-1696) and Lione Pascoli (1674-1744), as well as his graphic and painterly works, this essay examines how Maratti's image was constructed and displayed. This essay also explores the artist's private life, from his long-lasting affair with a young model to his purported moderation and sobriety. During the Seicento, legitimacy and power were assigned to artists by establishing connections (actual or fabricated) to figures. In biography, these connections were expressed through the reworking of tropes and motifs taken from the greatest biographers of the past. This is the premise behind a joint project that Maratti undertook with his close friend Bellori. The project focused on revalorizing and commemorating Raphael and Annibale Carracci. Indeed, Maratti's biography then served as a legitimizing tool for his own career. The artist's self-fashioning thus contributed to his great success and his championing of the Classicist aesthetic and of an ideal artistic lineage with Raphael at the forefront is essential to understand the image of the modern artist.