Pilasters of the Vatican lodges by Giovanni Ottaviani
Rome: 18th century
2 original engraving realized in 1775.
Size: 114 x 51 cm.
Very beautiful colors gouache and watercolor.
Framing on request.
Upon completion, Raphael's Lodges were recognized as a major work and artists from all over Europe rushed to admire and copy the motifs. This enthusiasm will continue until the nineteenth century as is also evidenced by the many leaves that are preserved today in the world of graphic arts firms. With their trompe l'oeil, their colors and their harmony, the Lodges were unanimous for the vision they offered of nature. The imitation of Raphael was at the heart of the classical movement and, since the beginning of the 17th century, the wide distribution by the print of the models of the Lodges offered artists and amateurs the opportunity to immerse themselves in the master's work. . His most fanatical emulation was certainly Catherine II of Russia who, seduced by the boards of Volpato, made realize, at the end of the eighteenth century, an identical copy of this gallery in his palace of St. Petersburg. At the same time, in Paris, Sweden, Germany ..., grotesque and arabesques invade the ornamental repertoire again.
he Lodges constitute the central floor of the facade wanted by Pope Julius II and designed by Bramante to hide the old pontifical palace. It was at his death in 1514 that Raphael resumed the project, and the decoration of the second floor was completed in 1519. Inspired by the ancient buildings and particularly the Tabularium, deposit of the archives of ancient Rome, the lodges housed many statues forming a a gallery of unique sumptuousness, where everything was done to revive and even surpass the splendor of the Roman Empire.
The thirteen bays of the gallery are adorned with a lush decor that hangs from the ceiling of simple and uplifting biblical scenes, the famous Raphael Bible, ranging from the Creation of the World to the Last Supper, while the pilasters display an extraordinary ornamentation of grotesques. inspired by the frescoes of ancient Rome. The discovery of Domus aurea de Néron inspires artists and Raphaël draws heavily on this whimsical repertoire while renewing it. The realization of such a set required the participation of many young artists. Indeed, if Raphael is the inspirer of the project, he did not put his hand, often leaving carte blanche to the students of his studio, Jules Romain, Francesco Penni, Perino del Vaga ... limited to provide sketches and cartons but abandoning them the final focus. At the forefront of these collaborators is Giovanni da Udine who created most grotesques, festoons and stuccoes.
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