Getty Museum opens new Raphael exhibit

By John Caldwell
Daily Forty-Niner

A dramatic exhibition of Renaissance drawings unveiled at the J. Paul Getty Museum Tuesday opened a window into a defining period in the history of Western art.

"Raphael and His Circle: Drawings from Windsor Castle," on display from Oct. 31, 2000, through Jan. 7, 2001, exhibits the work of Raphael, a prolific master who dominated in Rome during the height of the Renaissance. The drawings represent the process behind the creation of incredible masterpieces commissioned by the Vatican and wealthy patrons during a time when Michelangelo and Leonardo da Vinci shared the spotlight.

"This is an exhibition that represents the greatest drawings by Raphael," said museum Director Deborah Gribbon. "The 25 drawings represented here are exceptional in their beauty and importance."

The exhibition features a total of 66 drawings selected from a vast collection in the Royal Library at Windsor Castle on loan from Queen Elizabeth II. In addition to works by Raphael, those by his father, teacher and assistants are also displayed.

Chalk sketches include preparatory studies of Greek gods, Catholic saints and battle scenes for engravings and frescos. Principles of composition, figure drawing and extensive workshop collaboration are all evident in the works, which range from small studies to large-scale projects from the height of Raphael's fame in Rome.

"Raphael, throughout his career, was very responsive to the artists around him," said Martin Clayton, assistant curator of the print room at Windsor Castle.

Upon moving to Florence around 1504 at an early age, Raphael found himself surrounded by the work of Michelangelo and Fra Bartolomeo, among other great artists. During this period of assimilation, Raphael emulated the artists around him. In Florence, he developed a technique and a collaborative workshop style before moving to Rome in 1508 at the request of Pope Julius II.

Raphael achieved artistic dominance in Rome, creating incredible frescos in the Vatican and large works for private patrons at a time when Michelangelo was painting the Sistine Chapel. He had left his period of assimilation and entered a world of competition.

"The difference between Raphael and Michelangelo was the temperament," Clayton said. "Michelangelo was a solitary genius."

Raphael was able to gather many commissions in Rome because of his ability to work with assistants, Clayton said. Unlike Michelangelo, he worked well with others and was frequently on time with his work, garnering the attention of wealthy patrons.

The exhibit provides a unique look into the way artist workshops operated in the Renaissance period. The arcs from a compass and pinholes in the paper reveal the process behind the creation of finished projects.

A special section devoted to the making of "Disputa," an impressive fresco commissioned by Pope Julius II for the Vatican Palace's papal library, includes a life-size reproduction of the finished work. "Disputa" depicts a theological discussion of the Holy Eucharist, one of the seven sacraments of Catholicism.

Raphael's influence extended over centuries. He painted many frescos in the Vatican and was responsible for works in neighboring chapels along with numerous portraits, altarpieces and drawings for engravings.

Raphael died after a short illness in 1520 at age 37.

The J. Paul Getty Museum

Raphael's "Poetry," above, and "The Three Graces" on loan from the Royal Library, displayed at the J. Paul Getty Museum.