The paper is focused on the exceptional scientific results of two exhibitions organized by Marzia Faietti (GDSU in Florence) in Rome and in Moscow between 2015 and 2016. Although deeply different in their respective conceptions, they both deserved a very attentive consideration due to their sophisticated choice of drawings and paintings which had Raphael's mastery at their core. In Rome Faietti tried to present refined dynamics of imitation, through the graphic medium, between Parmigianino and Raphael and between Barocci and his two ancestors. In Moscow Raphael was the only leading character and his particular and always conscious strategy of self-fashioning as well.
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