Reviewed in the NYR
October 8, 2012 – January 14, 2013
In the January 10 issue, Ingrid Rowland writes, “Raphael and his contemporaries seldom worked in isolation. They learned their trade as artists by joining a workshop in late childhood, eventually becoming assistants, then collaborators, and at last, if they were sufficiently lucky and sufficiently talented, masters in their own right. The ‘Late Raphael’ exhibition—mounted jointly by the Museo Nacional del Prado and the Musée du Louvre—focuses special attention on two of Raphael’s closest associates, Giulio Romano and Gianfrancesco Penni, the most prominent members of a big, diversified workshop that may have included as many as fifty people at one time, from young boys to mature specialists who were dominant figures in their respective fields. Thus, under the general label of ‘Raphael,’ Giulio and Penni carried out drawings and paintings, Marcantonio Raimondi concentrated on engravings, Giovanni da Udine on stucco, still lifes, grotesques, and animals, Lorenzetto on sculpture, Luigi de Pace on mosaic, Antonio da Sangallo on architecture, each of them at the highest level of quality.”
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Musée du Louvre,