{"id":1481,"date":"2017-11-07T15:15:11","date_gmt":"2017-11-07T15:15:11","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/arts-news\/?p=1481"},"modified":"2018-08-09T14:56:49","modified_gmt":"2018-08-09T13:56:49","slug":"ahvc-research-talk-collecting-raphaels-drawings-in-an-artist-workshop","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/arts-news\/2017\/11\/07\/ahvc-research-talk-collecting-raphaels-drawings-in-an-artist-workshop\/","title":{"rendered":"AHVC Research Talk: Collecting Raphael’s drawings in an artist workshop (14.11.2017)"},"content":{"rendered":"

\"\"<\/a><\/p>\n

The Art History & Visual Cultures Research Centre invites you to a research seminar with<\/p>\n

Claudia La Malfa, The American University of Rome<\/strong><\/p>\n

Collecting Raphael’s drawings in an artist workshop. Francesco Villamena’s prints after Raphael and his collection of Raphael’s drawings<\/strong><\/p>\n

Tuesday 14th<\/sup> November 2017 at 6pm in Keynes Seminar Room 6, University of Kent<\/strong><\/p>\n

Francesco Villamena, born in Assisi, c. 1564, was an appreciated print maker active in Rome from the end of the 16th century until his sudden death in 1624. From the archival inventories discovered and published by Franca Trinchieri Camiz in 1994, emerges that Villamena had an important works of art collection.<\/p>\n

His collection included classical statues, 15th- and 16th-centuries prints, paintings and drawings of the old masters, a few of which were attributed to Raphael. Villamena\u2019s activity as a print maker, and his etchings of Raphael\u2019s works, show how Raphael was popular at the beginning of the century. His print of the 16th<\/sup> century copy of the de\u2019 Medici\u2019s Madonna dell\u2019Impannata <\/em>found in the collection of Neapolitan aristocrat Matteo di Capua demonstrates how Raphael\u2019s paintings, even his good quality copies, were considered to mark the high social status of a collector. This paper intends to argue that Villamena\u2019s collection exemplifies a crucial historical moment in the history of collection of Raphael\u2019s paintings and drawings. Villamena\u2019s collection of Raphael\u2019s drawings shows that at the beginning of the 17th century the old master\u2019s drawings were collected not only for the use of the artists and their workshops, but also as objects of artistic value destined to enter the art market. Finally, it will be shown how an important finito <\/em>drawing produced by Raphael during his early years of activity, and today in the Uffizi\u2019s Prints and Drawings Department, was in Villamena\u2019s collection at the beginning of the 17th century.<\/p>\n

Claudia La Malfa lives and works in Rome, Italy. She received her PhD from the Warburg Institute, University of London, in 20013, and taught at the University of St Andrews, Naples and Ravenna. She currently teaches History of Art at the American University of Rome, where she holds courses for undergraduate students and for MA students at the University of Kent in Rome. Since 2015 she is Visiting Lecturer of the University of Kent. She published the book Pintoricchio Fresco Cycles and the Revival of the Antique<\/em>, Silvana Editoriale 2008 (funded by the Commission for Ecclesiastical Heritage), and has extensively published in peer-review journals and collected volumes on Botticelli\u2019s Primavera<\/em>, Filippino Lippi\u2019s drawings, Bernardino Pintoricchio\u2019s frescoes, Renaissance sculptors in Rome, history of collecting, and the revival of antique in the Renaissance.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Art History & Visual Cultures Research Centre invites you to a research seminar with Claudia La Malfa, The American University of Rome Collecting Raphael’s … Read more<\/a><\/p>\n","protected":false},"author":52103,"featured_media":1482,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[100407,25563,50209,124,9112],"tags":[],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts\/1481"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/users\/52103"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/comments?post=1481"}],"version-history":[{"count":2,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts\/1481\/revisions"}],"predecessor-version":[{"id":1490,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts\/1481\/revisions\/1490"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/media\/1482"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/media?parent=1481"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/categories?post=1481"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/tags?post=1481"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}