He had commissioned Raphael, also in 1516, to produce a painting of The Transfiguration of Christ, to which Lazarus was to be the companion, and Raphael continued to work on this until he died, in 1520. Giulio was born posthumously, and was educated by his uncle Lorenzo by 1515 he held the archbishoprics of Florence and Narbonne, and had been made a Cardinal he was elected Pope Clement VII in 1523. Giulio (1478-1534) was the partly-legitimated son of Giuliano de’ Medici, brother of Lorenzo the Magnificent, who had been assassinated by the Pazzi conspiritors in 1478 at the age of 25. (381 x 289.6 cm.), 17th century frame, Galleria degli Uffizi Raphael, Pope Leo X with Cardinals Giulio de’Medici & Luigi de’ Rossi, c.1518, panel, 150 x 114 in. The raising of Lazarus was commissioned by Cardinal Giulio de’ Medici in December 1516 for one of his sees, the cathedral of St Just & St Pasteur in the city of Narbonne in the Languedoc. Sebastiano del Piombo (c.1485-1547), The raising of Lazarus, c.1517-19, o/c (transferred from wood), 381 x 289.6 cm., National Gallery But for more than three centuries it has suffered from a range of inappropriate frames it has only now been resurrected as the truly resplendent Renaissance altarpiece it was designed to be, for the exhibition at the National Gallery: Michelangelo & Sebastiano, 15 March – 25 June 2017. The raising of Lazarus by Sebastiano del Piombo has a symbolic place in the history of the National Gallery: its accession number is NG1, and it was amongst the most important of the thirty-eight paintings which formed the original core of the National Gallery collection when they were acquired by the government from John Julius Angerstein in 1824.
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