About the exhibition
Exhibition After Raphael. 1520−2020 (in commemoration of the 500th anniversary of the death of Rafael Santi) is dedicated to the phenomenon of his influence on European art from the 16th century to the present day.
The central metaphor of the exhibition is the line, which is the embodiment of interconnection, tradition, dialogue. This line brings together the works of Raphael, Giulio Romano, Parmigianino, Poussin, Rubens, Mengs, Ivanov, Venetsianov, Ingres, Corot, Picasso and further, up to the present day artists. Parallels and sometimes unexpected comparisons of European and Russian schools are created not only with regard to well-known works of the great Urbino dweller and his famous followers, but also relating to lesser-known works from the Hermitage funds shown for the first time. The series of Raphael’s followers, connected by bonds of artistic continuity is compared to a genealogical line — a string of descendants dating back to one ancestor. The objective of the exhibition is to perceive this line as a whole and to try to understand its meaning not only in art, but in the whole European culture.
The central metaphor of the exhibition is the line, which is the embodiment of interconnection, tradition, dialogue. This line brings together the works of Raphael, Giulio Romano, Parmigianino, Poussin, Rubens, Mengs, Ivanov, Venetsianov, Ingres, Corot, Picasso and further, up to the present day artists. Parallels and sometimes unexpected comparisons of European and Russian schools are created not only with regard to well-known works of the great Urbino dweller and his famous followers, but also relating to lesser-known works from the Hermitage funds shown for the first time. The series of Raphael’s followers, connected by bonds of artistic continuity is compared to a genealogical line — a string of descendants dating back to one ancestor. The objective of the exhibition is to perceive this line as a whole and to try to understand its meaning not only in art, but in the whole European culture.
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