Description
Book SynopsisStudies Raphael's images of supernatural phenomena, including apparitions and prophetic visions, within their contemporary artistic and religious contexts. Asks how a fundamentally naturalistic style of painting like that of the Italian Renaissance can accommodate representations of the supernatural without self-contradiction.
Trade Review“With a rare combination of precise and probing visual analysis and searching historical and textual scholarship, Christian Kleinbub opens entirely new prospects on the artist who personifies our concept of High Renaissance. Vision and the Visionary in Raphael demonstrates the fuller dimensions of a profound pictorial intelligence. The very notion of seeing, in its several aspects, is at the core of this study, which includes not only the spectator/worshipper before an altarpiece, but also the spectator/witness in the istoria and the vision of the seer/prophet. While focusing on Raphael, it inevitably involves the full Renaissance tradition, from Alberti’s articulation of the viewer to Renaissance responses to and commentaries on the visionary in theological literature from antiquity to Ficino and Savonarola, as well as theological commentary in a particularly Pauline tradition. Kleinbub discovers new and deeper aspects of Raphael as a thinking artist.”
—David Rosand,Columbia University
“This highly original and informative work shows how Raphael created a new mode of painting in 16th-century Rome when he combined Renaissance naturalism with the tradition of sacred imagery. Kleinbub provides insightful formal readings and thorough assessments of the iconography of Raphael's major frescoes, paintings, and tapestries that depicted the world, spiritual phenomena, and the divine as indisputably real. . . . As the author traces Raphael’s development that culminated in The Transfiguration of Christ, he makes a compelling case for viewing Raphael as one of the inventors of a new type of devotional image—one that seamlessly integrated images of heaven and representations of the divine with depictions of the physical world.”
—D. H. Cibelli Choice
“In an ambitious new study of Raphael’s religious imagery, Christian Kleinbub explores the representation of divine apparitions in his altarpieces, frescoes, and tapestry cartoons. . . . The new readings of Raphael’s imagery that emerge are fascinating, instructive, and often inspiring. Indeed, Kleinbub’s interpretation of the St. Cecilia Altarpiece is a tour-de-force. . . . Kleinbub analyzes a sequence of Raphael’s paintings in a fresh and penetrating way, and thereby furthers our understanding of the artist who was the most lauded of all in the West from the year of his death in 1520 until the revolution of abstraction in the early twentieth century.”
—Cathleen Hoeniger Renaissance Quarterly
“Christian Kleinbub, in his magisterial book, Vision and the Visionary in Raphael, thoroughly upends [an] outmoded view of the artist.
Kleinbub responds to the challenge of Raphael's paintings with dazzling exercises in visual analysis, discerning pictorial strategies that are always a priori to the theological explanations. . . . Pennsylvania State University Press has produced a volume . . . of visual beauty and sophistication that sustain[s] Kleinbub's readings, which will reshape Raphael studies.”
—Jonathan Unglaub CAA Reviews
“In his fine book Christian Kleinbub considers Raphael’s solutions for inspiring a state of imageless contemplation in the context of the requirements of Renaissance naturalism. . . . This study is far-reaching both in the representational issues it tackles and in the theological, philosophical, and theoretical explanations it brings to bear on the subject matter.”
—Linda A. Koch Sixteenth Century Journal
“Christian Kleinbub’s Vision and the Visionary in Raphael constitutes a major contribution to the literature on Raphael and, more broadly, on Italian Renaissance painting. It is hoped that others will follow his lead in elucidating the place of vision and the visionary in art of this period.”
—Sheryl E. Reiss Visual Resources: An International Journal of Documentation
Table of ContentsContents
List of Illustrations
Acknowledgments
Introduction
1 Making the Invisible Visible: Raphael and the Development of Early Modern Visionary Imagery
2 The Philosophical Eye: Iconographies of the Visual in the School of Athens
3 Blindness and Enlightenment: Saint Paul and the Idea of the Image in Raphael’s Sistine Tapestries
4 The Real and the Imaginary
5 Raphael’s Transfiguration as Visio-Devotional Program
Notes
Bibliography
Index
