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International studio — 49.1913

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https://doi.org/10.11588/diglit.43452#0459

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THE INTERNATIONAL STUDIO


16,000
Physicians
Approve
when you
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THE BAUER CHEMICAL CO., 30-P Irving Place, New York


Lamps and Fixtures

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THE KIMBERLY COMPANY
317 EAST 34th STREET - - NEW YORK CITY

March, 1913

The Raphael Book. By Frank Roy
Fraprie. (Boston, L. C. Page & Co.)
$2.50.
Raphael literature has been enriched by
yet another volume, and Mr. Fraprie is to
be congratulated upon the quality of his
work, with its elegant cover design and
fifty-four reproductions in colors and duo-
gravure. The frontispiece is the well-
known self-portrait of the artist, painted
about 1506, and is repeated on the cover.
One or two of the color plates, notably
La Belle Jardiniere, are disappointing, but
the others, as also the duogravure, are very
pleasing.
The author has undertaken the life of
Raphael Santi of Urbino, and his place in
the development of art, together with a
description of his paintings and frescoes;
and has bestowed the most space upon the
glorious Florentine period describing the
splendor of Rome and the Vatican under
Pope Julius II, with copious notice of
Raphael’s work upon the Stanze. We see
the wonderful development of seven short
years, from the dreamy mysticism of
Perugio and Umbria, as shown in the
" Sposalizio,” so quattrocentist in feeling,
to the splendid piece of decoration entitled
Parnassus, in the well-known Stanza della
Segnatura.
It can hardly be claimed that the author
has thrown much new light upon the artist
or his pictures, but the value and interest
of the book lie in the detachment of Ra-
phael’s works and putative works scattered
about museums and galleries of Europe,
and their careful grouping in the different
stages of his artistic development. The
endless books written upon Florence and
her art treasures can only touch lightly
upon each master, so that this book, deal-
ing solely with Raphael commands large
attention.
In the fierce light of modern criticism
Raphael does not occupy the lofty pedestal
so commonly assigned to him, but will
always be remembered for his portraits and
as the painter of the Stanze; but whatever
critics may say, the fact remains that
in the crowded Pitti the tightest knots
always form before the masterpieces of
Raphael.
In the author’s account of the Madonna
della Impannata, the Infant Christ is de-
scribed as being taken from its mother by
St. Elizabeth. I am inclined to think that
St. Anna, the mother of Mary and wife of
Joachim, is meant.
Possibly too much ink is used in assert-
ing or denying the authenticity of the hun-
dreds of canvases bearing the formulae and
ideals of the master; in the workshops of
the early Renaissance bands of distin-
guished painters, who never aspired to
liberty and seldom dreamt of working on
their own account, painted the pictures
after the composition was blocked in by the
master, and it is often impossible to dis-
tinguish. Who can decide between a
Rubens and a Van Dyck?
Mr. E. V. Lucas in his latest work,
"A Wanderer in Florence,” gives a good
appreciation of Raphael and his times and
is much in accord with the author of the
"Raphael Book.”
Mr. Fraprie has added a bibliography,
an exhaustive list of paintings by, or attrib-
uted to, Raphael and a very complete
index.
 
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