Paul Joannides – författare
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An authoritative introduction to one of the most influential painters in the history of art, written by the pre-eminent authority on the subject and informed by the latest research. More versatile and less idiosyncratic than Michelangelo, more prolific and accessible than his mentor Leonardo da Vinci, Raphael, though he died at only thirty-seven, is considered the single most influential artist of the Renaissance. Here, art historian Paul Joannides explores the different social and regional contexts of Raphael’s work and discusses all aspects of his artistic output. He traces Raphael’s career from his origins in Urbino, through his altarpieces made in Umbria in the shadow of Perugino, to the first flowering of his genius in Florence where he painted a series of iconic Madonnas that are among the most beloved images in Western art. Raphael’s employment by the dynamic and demanding Pope Julius II gave him opportunities without parallel and encouraged the full expansion of his genius. As a sophisticate entrepreneur, he dominated Rome’s artistic life and extended the range of his activities to that of architect, designer, pioneer archaeologist and theoretician. The foundation of Raphael’s versatility and range was his supreme clarity of mind as a draughtsman. Knowledge of his drawings, on which Joannides is a leading expert, is central to understanding of his achievement, and they are thoroughly explored here.
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This volume comprises the fullest and most detailed catalogue of the drawings by and after Michelangelo in the Ashmolean Museum. It is one of the most important collections of drawings by this artist, which also includes drawings after his own by contemporaries that shed light on lost works as well as the artist's reputation and influence during the sixteenth century. The introduction provides a history of Michelangelo's drawings generally and also surveys the various types of drawing practised by Michelangelo and an account of his development as a draughtsman. Most of the drawings in the Ashmolean Museum came from the collection of Sir Thomas Lawrence, and this book contains a detailed appendix that traces the histories of all of the drawings by or after Michelangelo that Lawrence owned, both before he acquired them and after they were dispersed.