Hic est Raphael? Carlo Maratti and the Figure of the Artist in the Seventeenth Century

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As Raphael (1483-1520) had done before him, Carlo Maratti (1625-1713) supervised one of the most renowned artistic schools of the day and became one of Rome’s most prominent painters. A major point of comparison between Maratti, Raphael and Annibale Carracci (1560-1609) was that they were the best draftsmen of their time and got much of their inspiration in the ancient world. Based on primary sources such as his biographies by Giovan Pietro Bellori (1613-1696) and Lione Pascoli (1674-1744), as well as his graphic and painterly works, this essay examines how Maratti’s image was constructed and displayed. This essay also explores the artist’s private life, from his long-lasting affair with a young model to his purported moderation and sobriety. During the Seicento, legitimacy and power were assigned to artists by establishing connections (actual or fabricated) to figures. In biography, these connections were expressed through the reworking of tropes and motifs taken from the greatest biographers of the past. This is the premise behind a joint project that Maratti undertook with his close friend Bellori. The project focused on revalorizing and commemorating Raphael and Annibale Carracci. Indeed, Maratti’s biography then served as a legitimizing tool for his own career. The artist’s self-fashioning thus contributed to his great success and his championing of the Classicist aesthetic and of an ideal artistic lineage with Raphael at the forefront is essential to understand the image of the modern artist
Seiten (von - bis)61-73
FachzeitschriftAnales de Historia del Arte
PublikationsstatusVeröffentlicht - 14 Sep. 2023

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