List of the exhibited works

THE TRIUMPH OF PERFECTION
RAPHAEL
SIXTEENTH-CENTURY ITALIAN DRAWINGS AND PRINTS
FROM THE MUSEUM OF FINE ARTS, BUDAPEST
EXHIBITED WORKS
A
long with Leonardo and Michelangelo, Raphael, the youngest of the
famous master triad of the High Renaissance, made an exceptionally
deep impression on Italian art. Despite of his short career concentrated
in Rome between 1508 and 1520, there was no artist untouched by his
classical style. In his large workshop, many gifted young artists, such as
Giulio Romano, Perino del Vaga, Polidoro da Caravaggio and Giovanni
da Udine, worked under Raphael’s supervision as associates and assistants,
participating in the execution of his numerous significant commissions.
After Raphael’s premature death, members of his workshop completed their
master’s suddenly interrupted projects and started their own flourishing
careers.
The Collection of Drawings and Prints in Budapest preserves six drawings by Raphael: an early study for his first Perugian altarpiece, the Oddi
Coronation of the Virgin, a study for Saint Jerome from his stay in Florence,
the compositional sketch for the Disputa in the Vatican Palace, a powerful
Angel Head for the Sala di Costantino a unique preliminary drawing for the
renowned Massacre of the Innocents engraved by Marcantonio Raimondi,
and the silverpoint Venus, a superb masterpiece of the High Renaissance.
Our collection is also remarkable for the drawings by Raphael’s pupils,
including ten authentic works by his most successful former assistant Giulio
Romano, fifteen by Perino del Vaga and three by Polidoro da Caravaggio.
We also own a beautiful series of five drawings by Tommaso Vincidor
representing Giochi di Putti for the Medici Tapestries. A remarkable study
from the circle of Raphael was drawn immediately after the excavation of
the Laocoön group and represents the statue in its original state before the
addition of supplements.
Beside the Antique, young artists in Rome diligently copied Raphael’s works,
and their studies quickly transmitted the master’s vocabulary throughout Italy.
Parmigianino was an eminent artist of the new generation and one of the
most original inventors of Italian Mannerism, many of whose Roman studies
clearly reflect Raphael’s compositions. Raphael was a major source also for
Giovanni Battista Franco, who played an important role in the dissemination
of Central Italian art in mid-sixteenth-century Venice.
Raphael was the first sixteenth-century painter who recognised the
advantages of reproducing his compositions in print. From the early 1510s
printmakers working closely with his workshop, above all the most eminent
engraver of the period Marcantonio Raimondi, were conducting a very
successful undertaking. The appointment of Baviero de’ Carocci, Raphael’s
former assistant to supervise the publication of prints after the painter’s designs
marks the birth of the highly organized print publishing business in Rome.
Along with Marcantonio Raimondi’s engravings, works by the most excellent
printmakers, such as Jacopo Caraglio, Agostino Veneziano and Marco Dente,
as well as by the outstanding chiaroscuro woodcutter Ugo da Carpi well illustrate Raphael’s dominant role in contemporary Italian printmaking.
The sixty masterpieces in the exhibition demonstrate Raphael’s genius as
well as the next generation’s relation to his unparalleled artistic legacy. It is the
first occasion that the Esterházy Madonna is exhibited in the context of drawings. Its underdrawing visible even to the naked eye, supported by a recent
technical analysis, offers an extraordinary occasion to understand Raphael’s
working method. The exhibition provided occasion for the technical examination of Raphael’s drawings, the results of which are first published in the
volume accompanying the show.
1
Raphael
4
Raphael
(1483−1520)
(1483−1520)
The Assumption of the Virgin
The Massacre of the Innocents
c. 1503−4
c. 1511−12
Pen and brown ink, some traces of black chalk,
a fragmentary motif in red chalk
158 × 193 mm
Inv. no. 1779
Pen and brown ink
260 × 400 mm
Inv. no. 2195
2
Raphael
5
Marcantonio Raimondi
(1483−1520)
(1470/82−1527/34)
Raphael
Nude Studies, probably for Saint Jerome
(1483−1520)
c. 1504−5
The Massacre of the Innocents (with fir tree)
Pen and brown ink
238 × 146 mm
Inv. no. 1936
c. 1511−12
Engraving
277 × 428 mm
Inv. no. 5536
3
ANTONIO Pollaiuolo
6
Marcantonio Raimondi
(1432−1498)
(1470/82−1527/34)
Raphael
Battle of the Nudes
(1483−1520)
c. 1470−75
The Massacre of the Innocents (without fir tree)
Engraving
407 × 590 mm
Inv. no. 25094
c. 1513−15
Engraving
277 × 425 mm
Inv. no. H.6871
5
7
Parmigianino
10
Giovanni Battista Franco
(1503−1540)
(?1510−1561)
Sleeping Cupid
Study for a Group, after Raphael's Disputa
c. 1524−30
c. 1545
Etching and engraving
65 × 100 mm
Inv. no. 6291
Pen and wash in brown ink, over black chalk
241 × 395 mm
Inv. no. 2196
8
Master ND
11
Marcantonio Raimondi
(fl c. 1520−50)
(1470/82−1527/34)
After Giulio Romano
Raphael
(?1499−1546)
(1483−1520)
The Massacre of the Innocents
Parnassus
1544
c. 1517−20
Chiaroscuro woodcut from three blocks
292 × 510 mm
Inv. no. 7333
Engraving
353 × 468 mm
Inv. no. 25102
9
Raphael
(1483−1520)
Design for a Temporary Decoration (recto)
after 1509
Sketches for the Disputa (verso)
c. 1508–9
Pen and brown ink, over black chalk
200 × 153 mm
Inv. no. 1935
6
12
Giorgio Ghisi
15
Marco Dente
(1520−1582)
(?−1527)
after Raphael
probably after Raphael
(1483−1520)
(1483−1520)
The School of Athens
Laocoön
1550
c. 1517−19
Engraving
500 × 397 mm
Inv. no. 25380
Engraving
276 × 392 mm
Inv. no. 6863
13
Anonymous Artist
16
Moderno
(1467–1528)
Laocoön
The Flagellation of Christ
c. 1509−10
c. 1506–9
Pen and wash in brown ink
473 × 325 mm
Inv. no. K.58.983
Bronze
143 × 108 mm
Inv. no. 7438
14
Marco Dente
17
Giulio Romano
(?−1527)
(?1499–1546)
Laocoön
Frieze of an Acanthus Scroll
c. 1520−25
c. 1520
Engraving
464 × 326 mm
Inv. no. 6843
Pen and brown ink
264 × 148 mm
Inv. no. 1876
7
18
Marco Dente
21
Marcantonio Raimondi
(?−1527)
(1470/82−1527/34)
Ornamental Panel
Crouching Venus
early 1520s
c. 1509
Engraving
212 × 139 mm
Inv. no. 6833
Engraving
222 × 148 mm
Inv. no. 5610
19
Perino del Vaga
22
Raphael
(1501−1547)
(1483−1520)
Studies for Grotesques
Venus
c. 1545
c. 1511−14
Pen and brown ink
277 × 185 mm
Inv. no. 1917-191
Silverpoint
190 × 75 mm
Inv. no. 1934
20
Perino del Vaga
(1501−1547)
Studies for Friezes and a Crouching Female Nude (recto)
Studies of Figures and a Frieze (verso)
c. 1537−39
Pen and brown ink, some traces of red chalk
275 × 395 mm
Inv. no. 1864
8
23
Marcantonio Raimondi
26
Giulio Romano
(1470/82−1527/34)
(?1499−1546)
Raphael
Erotic Scene
(1483−1520)
after 1524
The Judgement of Paris
Pen and wash in brown ink, over black chalk,
heightened with white
130 × 226 mm
Inv. no. 2419
c. 1518−20
Engraving
292 × 435 mm
Inv. no. 5516
24
Giulio Bonasone
27
Marcantonio Raimondi
(c. 1510−after 1576)
(1470/82−1527/34)
The Judgement of Paris
Bacchanal
mid-1560s
early 1510s
Etching
298 × 458 mm
Inv. no. 6421
Engraving
148 × 503 mm
Inv. no. 5532
25
Giovanni Battista SCULTORI
28
Marcantonio Raimondi
(1503−1575)
(1470/82−1527/34)
after Raphael
Mars and Venus
(1483−1520)
1539
Pan and the Infant Bacchus
Engraving
283 × 202 mm
Inv. no. 5269
c. 1515−16
Engraving
125 × 92 mm
Inv. no. 5616
9
29
Jacopo Caraglio
32
Perino del Vaga
(c. 1500/5–1565)
(1501–1547)
After Perino del Vaga
Battle of Centaurs and Lapiths
(1501–1547)
c. 1545–47
Vertumnus and Pomona
Black chalk
197 × 284 mm
Inv. no. 1868
1527
Engraving
210 × 136 mm
Inv. no. 6758
30
Jacopo Caraglio
33
Perino del Vaga
(c. 1500/5–1565)
(1501–1547)
After Perino del Vaga
Sketches for the Decoration of a Ceiling
(1501–1547)
c. 1528–30
Jupiter and Mnemosyne
Pen and brown ink
203 × 150 mm
Inv. no. 1930
1527
Engraving
211 × 135 mm
Inv. no. 6748
31
Perino del Vaga
(1501–1547)
Study for Saint George and the Dragon (recto)
Figure Studies (verso)
c. 1535
Pen and brown ink, over red chalk
215 × 258 mm
Inv. no. 1794
10
34
Perino del Vaga
37
Giulio Romano
(1501–1547)
(?1499–1546)
Study for a Wall Decoration
A Repast
c. 1537
c. 1531–34
Pen and wash in brown and grey ink, over black chalk
420 × 290 mm
Inv. no. 1838
Pen and wash in brown ink, over black chalk,
heightened with white
220 × 417 mm
Inv. no. 2126
35
Polidoro da Caravaggio
38
Raphael
(c. 1499–c. 1543)
(1483–1520)
Design for a Decoration
Head of an Angel
c. 1520–24
c. 1519–20
Pen and wash in brown ink
320 × 217 mm
Inv. no. 1858
Greyish black chalk or charcoal and brownish charcoal,
heightened with white
308 × 254 mm
Inv. no. 1943
36
Giulio Romano
39
attributed to Perino del Vaga
(?1499–1546)
(1501–1547)
The Entombment
The Triumph of David
Late 1520s
c. 1516–19
Pen and brown ink, over black chalk
143 × 215 mm
Inv. no. 1877
Pen and wash in brown ink
262 × 397 mm
Inv. no. 2194
11
40
Raphael
43
Marcantonio Raimondi
(1483–1520)
(1470/82−1527/34)
Esterházy Madonna
David
c. 1507–8
c. 1506
Tempera and oil, on panel
28.5 × 21.5 cm
Inv. no. 71
Engraving
170 × 107 mm
Inv. no. 5570
41
albrecht dürer
44
Marcantonio Raimondi
(1471–1528)
(1470/82−1527/34)
Probably after Giorgione
The Visitation
(?1477/8−1510)
c. 1503–4
The Dream of Raphael
Woodcut
298 × 210 mm
Inv. no. 1913-456
c. 1507−8
Engraving
235 × 333 mm
Inv. no. 5542
42
Marcantonio Raimondi
45
Marcantonio Raimondi
(1470/82−1527/34)
(1470/82−1527/34)
after albrecht dürer
Raphael
(1471–1528)
(1483−1520)
The Visitation
The Plague (The Morbetto)
c. 1506–8
c. 1515−16
Engraving
292 × 211 mm
Inv. no. 5683
Engraving
198 × 253 mm
Inv. no. 5786
12
46
Marcantonio Raimondi
49
Ugo da Carpi
(1470/82−1527/34)
(fl c. 1502−32)
Probably after Giulio Romano
After Raphael
(?1499–1546)
(1483−1520)
The Carcass (Lo Stregozzo)
The Miraculous Draught of Fishes
c. 1520
c. 1527−30
Engraving and etching
300 × 631 mm
Inv. no. 25099
Chiaroscuro woodcut from three blocks
231 × 345 mm
Inv. no. 6136
47
parmigianino
50
Andrea Schiavone
(1503−1540)
(c. 1510−1563)
after Raphael
After Raphael
(1483–1520)
(1483−1520)
Saints Peter and John Healing a Lame Man
The Miraculous Draught of Fishes
c. 1524−30
c. 1548−52
Etching, engraving, chiaroscuro woodcut from two blocks
268 × 401 mm
Inv. no. 6286
Etching
191 × 271 mm
Inv. no. 6308
48
Giovanni Battista Franco
51
Antonio Fantuzzi
(fl 1537−50)
(?1510−1561)
probably After Raphael
after Raphael
(1483–1520)
(1483−1520)
Saints Peter and John Healing a Lame Man
The Miraculous Draught of Fishes
mid-1540s
1540s
Etching and engraving
272 × 406 mm
Inv. no. 7043
Etching
261 × 328 mm
Inv. no. 5901
13
52
Tommaso Vincidor
55
parmigianino
(?–1534)
(1503−1540)
after Raphael
Compositional Study with the Life of the Virgin
(1483–1520)
c. 1524−27
Playing Putti
Pen and wash in grey ink
191 × 129 mm
Inv. no. 1893
c. 1520
Pen and wash in brown ink, black chalk, heightened
213 × 288 mm
Inv. no. 2266
53
Master of the Die
56
parmigianino
(fl c. 1530–60)
(1503−1540)
after Raphael
Study for a Group
(1483–1520)
c. 1525−27
Putti Playing
Pen and wash in brown ink, over black chalk, heightened with
white, on pink prepared paper
143 × 161 mm
Inv. no. 1888
1532
Engraving
187 × 285 mm
Inv. no. 46052
54
Marcantonio Raimondi
57
Marcantonio Raimondi
(1470/82−1527/34)
(1470/82−1527/34)
Raphael
after Raphael
(1483−1520)
(1483−1520)
Quos Ego
The Martyrdom of Saint Cecilia
c. 1515−16
c. 1520−25
Engraving
430 × 330 mm
Inv. no. 5595
Engraving
238 × 405 mm
Inv. no. 5517
14
58
Jacopo Caraglio
(c. 1500/5–1565)
Parmigianino
(1503–1540)
The Martyrdom of Two Saints
c. 1527
Engraving
258 × 451 mm
Inv. no. 46019
59
Marcantonio Raimondi
(1470/82−1527/34)
after Raphael
(1483−1520)
Lucretia
c. 1511−12
Engraving
205 × 129 mm
Inv. no. 5585
60
Parmigianino
(1503−1540)
Studies for Lucretia, Proserpina, and Mercury
c. 1535−38
Pen and wash in brown ink, heightened with white
188 × 96 mm
Inv. no. 1883
15