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While disegno was unquestionably the foundation of his art, it was nevertheless the means to an end. The latter are more numerous and less distinguishable, and were produced in the milieu of his Roman workshop.
The Ashmolean Museum joins forces with the Albertina in Vienna for the show
Oberhuber and his colleagues presented an expansionist view, assigning more than works to Raphael, while Joannides, who excluded the architectural drawings, found only double or single sheets to be autograph. Since then, scholars have tended to be either inclusive and revisionist, assigning more attributions to Raphael thus reducing those thought to have been by his workers, among them Giulio Romano or have been more moderate and restrictive, consigning fewer to him and more to his contemporaries.
An exhibition in at the Palazzo Te, Mantua, and the Albertina, organised by Oberhuber and Achim Gnann, one of the curators of the current show, provoked strong criticism that the constant giving and taking of attributions had created an attributional minefield. For more information, contact info theartnewspaper.
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Konrad Oberhuber, 72; art history scholar was an expert on Raphael
To see what your friends thought of this book, please sign up. Breaking with tradition and conventions, he unfolds new spatial-architectonic, historical and social contexts. The Albertina, whose historical foundation and structure are completely different, is now the next stage, of his publication project, after its beginnings in Bolzano.
A publication, comprising fifty drawings each, will be dedicated to each of the places. For Giannotti, an artist always finds himself connected to certain institutions and their politico- cultural, cultural, architectonic and social possibilities, orientations, and claims. Social aspects, dependence, and conditions arise from this relationship. This naturally entails, as Giannotti points out, a reflection on the various roles of art, artists, cultural institutions, the art market, and their relationship to each other.
Following an invitation from Konrad Oberhuber, the director of the Alberti- na at that time, Alexander Roob, born in Germany in , captured the conversion of the building and its Graphic Collection with hundreds of drawings on A4 paper from February to April