Date: 30 October – 9 November 2020
Deadline for applications: 8 September 2020
Five-hundred years ago, on Good Friday, April 6th, 1520, the painter Raphael died in Rome after a brief illness, exactly 37 years after his birth, also on Good Friday, in Urbino. Even though ‘but’ an artist, at his death he was a prominent member of a network that would have a dramatic impact on cultural history, including the most prominent humanists and antiquarians of the period.
The ‘religion of art’ has subsequently enshrined Raphael among its major saints. Yet judging from the evidence in funerary poems and letters to the shock Raphael’s death caused, his involvement at that time in the project of reconstructing the ancient city of Rome in drawing and text was what impressed his contemporaries most. If little of this project remains today, this only illustrates the sharp contrast between contemporaries’ evaluation of Raphael’s importance in handling the heritage of classical antiquity, and modern interests directed primarily at the painter’s artistic excellence.
This course studies this paradox and its causes, looking both into the classics that ‘went into’ Raphael’s generation, and the vicissitudes of the subsequent High Renaissance paradigm. Classical Receptions in theory and practice will therefore be our central preoccupation: both the way Antiquity was interpreted by Raphael and his peers, and the reception of Raphael’s antiquity by subsequent generations from Bernini, Carracci and Reni to Canova and the Nazarenes. Most of all we will discuss and visit the Roman works of the master himself, in painting, drawing, architecture and antiquarian scholarship, and on locations usually closed to the public like the Vatican Logge or the Villa Madama.
Prof. dr. David Rijser (RUG)
Prof. dr. Koen Ottenheym (UU)
Dr. Matthijs Jonker (KNIR)
For more information: See KNIR Website