Raffaello, Parmigianino, Barrocci

Venerdì, 02 Ottobre 2015 on Mercoledì, 14 Ottobre 2015. Posted in Uffizi's News

metaphors of gaze

Raffaello, Parmigianino, Barrocci
"Raphael, Parmigianino, Barocci". It is a comparison that is three-staged from 2 October to the Capitoline Museum, an exhibition of glances: that of ancient authors as Parmigianino and Barocci and their relationship with Raphael; one of the two painters on Raphael and, finally, the same look of the three artists addressed the audience in self selected. The exhibition aims to highlight how the model of Raphael has helped to determine the orientations of art by Francesco Mazzola called Parmigianino and those, very different, of Federico Barocci. Parmigianino and Barocci are mentioned in the testimonies six-seventeenth century as heirs of Urbinate and both considered among the most masterful designers of their era. Looking through the eyes of Raphael and Parmigianino with those of Barocci, exposure therefore intends to address the issue of the comparison and the legacy of artists who lived in different times and places. While Parmigianino spiritual heritage transmitted by Raphael goes back to a story circulating in Rome immediately after the death early dell'Urbinate - who spoke of a transmigration of the soul of the latter on the younger artist - the link between Raphael and Barocci, from interpretations of the eighties of the '500, is rooted in the common homeland. For the two artists really should not talk of influences of the painter's oldest but reworking of iconographic motifs, emulation and diversification than the originals Raphael. In particular, in the case of Parmigianino thorough examination of his work he made it possible to reverse the terms of the confrontation and transform into an alter redivivus Raphael Raphael, thus affirming its otherness and originality compared to that model. As for Barocci, he was able to decline the legacy of Raphael, due to the common origin of Urbino, in a synthesis between different cultural traditions. Raphael, Parmigianino and Barocci expressed themselves in their copious production graphics experimentally and innovative strength. To tell this distance comparison, the Roman exhibition propose drawings and prints of the three artists (including the study for the Deposition Borghese Raphael, studies for the frescoes in the basilica of Santa Maria in Parma Steccata Parmigianino and compositional study for Deposition of Perugia Barocci), from the Prints and Drawings Department of the Uffizi, from the Albertina in Vienna, the Royal Library of Turin, the British Museum and the Courtauld Institute Galleries in London, from Rijksprentenkabinet of Amsterdam, the Cabinet of Drawings and Prints of the National Museum and Galleries of Capodimonte in Naples, from Städelsches Museum in Frankfurt, the National Gallery of Parma. A selection of paintings very targeted (for example, the Annunciation and the Rest on the Flight into Egypt by Barocci the Pinacoteca of the Vatican Museums) will address the main thematic nodes offered by the graphics. The look of the protagonists of that ideal artistic dialogue, through their self-portraits (Self-portrait the extraordinary youth of Raphael and 'Self-portrait of middle-aged Barocci, both from the Uffizi Gallery, and the two portraits Parmigianino From the Albertina in Vienna and from Chatsworth ), will introduce the original route of this exhibition.