#raphael#renaissance
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starcrossed2018.bsky.social
So many people have enabled this book; here follow my acknowledgements. I have first chosen to name some of its most important influences, even when I have never met them, but it's also a joy & a privilege to have the opportunity to thank & remember friends, colleagues, mentors, and family 9/10
This is a big book, written over considerably more than a decade of mid-career teaching, administration, and other research projects; it was begun in the immediate aftermath of serious illness, significantly advanced during the coronavirus pandemic, and completed in the shadow of bereavement. A big book incurs many debts, most of which can never be repaid. It has been shaped by my encounters with artifacts in the collections of the Victoria and Albert Museum, where I spent two glorious afternoons in the Clothworkers’ Centre in its former premises at Blyth House; with costumes in the archive of Shakespeare’s Globe and on exhibition at the Royal Shakespeare Theatre and, most unforgettably, in the conservation studio at Hampton Court, while the ‘Bacton altar cloth’ was being prepared for exhibition. I’m grateful to all the curators and curatorial assistants who made my visits possible. My many intellectual debts will be apparent from footnotes, but I record here my particular admiration for the work of Janet Arnold, Catherine Belsey, Sarah Bendall, Janet Clare, Bridget Escolme, Juliet Fleming, Susan Frye, Jonathan Gil Harris, Barbara Hodgdon, Ann Rosalind Jones, Natasha Korda, Julia Reinhard Lupton, Lena Cowen Orlin, Lois Potter, Catherine Richardson, Ulinka Rublack, Carol Rutter, Bruce Smith, Helen Smith, Peter Stallybrass, and Evelyn Tribble—and Hilary Mantel. It’s been a privilege to learn from Eleri Lynn about her ongoing research into the ‘Bacton altar cloth’, and to look at it with her and her colleagues. I also learned much from examining PhD theses by Jennifer Hardy (King’s College, London, 2021), Breeze Barrington (Queen Mary, University of London, 2021), and Anouska Lester (Roehampton, 2023). I made many connections and learned a great deal from the now much-lamented heyday of social media; I’m particularly grateful for the expertise and generosity of Tracey Hill. For the last decade, my work has been very happily informed by the ‘Material Renaissance’ paper in the Cambridge Faculty of English, my colleagues in its devising and teaching (many of whom are particularly named below), and the dozens of students I have supervised. In the Faculty of English, my friends and colleagues Raphael Lyne, Jason Scott-Warren (who read an early part of the introduction), Rebecca Barr, Alex da Costa, Tania Demetriou (who supplied a Latin translation), Fiona Green, David Hillman, Bonnie Lander Johnson, Sarah Meer, Lotte Reinbold, Jenny Richards, and Nicky Zeeman, and others besides, have been particularly helpful and supportive, or just interested; at St Catharine’s, my life is cheered and enlivened by John Baker, Valentina Caldari, Peter Candy, River Chen, Jeff Dalley, Richard Dance, Mark Elliott, Niamh Gallagher, Paul Hartle, Helen Hayward, James Lello (who read the introduction), Stefan Marciniak, Nicky Robert, Ivan Scales, John Thompson, Edward Wickham, Peter Wothers, Doriane Zerka, and Sura Qadiri (a creative and talented needleworker), and by the leadership and kindness of John Benger and Susan Irvine, and their predecessors Mark and Lyn Welland, and Jean Thomas. My students at St Catharine’s have distracted me, usually in the best possible ways; I am privileged to teach in such a supportive, enabling environment, and to work with such passionate, curious, resilient young people. I have also been so grateful for the patience and encouragement of Ellie Collins and Aimee Wright at Oxford University Press. To think about textile labour is often to confront its invisibility: I have made a point of identifying costume designers where possible, and record here the name of Mary Ferigo, ballet and opera costumier in Christchurch, New Zealand, my father’s most regular collaborator, whose workspaces were the background to some of my earliest experiences of theatrical making. Acknowledgements alt text cont: I will always be grateful to David Jays for introducing me to Veronica Horwell, whose vast and practical knowledge of dress and textiles has been invaluable, and whose generous friendship has been a joy. Keith Lewis and Kit Grover are among my oldest, dearest friends, lovers and makers of beautiful things, and their enthusiasm for this project these many years has been sustaining. I could not do any of what I do without the loving support of many friends, and here think particularly of Ned Allen and Semele Assinder, Amanda Power, Caroline Gonda, Pippa Berry, Angus Vine, Carl Watkins and Dan Wilton, Peter Holland, and Nandini Das (who was wise and reassuring at a crucial moment). Laurie Maguire, Emma Smith, Pascale Aebischer, and Julie Sanders are women of wisdom, grace, and mana whose example, guidance, and friendship I value more than I can say. Support on the other side of the world comes especially from my beloved godmother Nancy Bailey, Sue Sheriff (a skilled quilter), Nicole Moreham and Tim Smith, Emily Brodie, and my extended family (particularly my aunts and uncles, and my cousin Philip and his family) and my immediate family, my sister Susannah (who not only knits but helps to run a ballet company), brother-in-law Mark, niece Laura and nephew Ben. In Cambridge, I am warmed by Elma the cat. Gavin Alexander has always encouraged me, as has Helen Cooper, who read the whole book in draft with her customary perceptiveness and kindness. Sophie Read is the staunchest of friends; she read the final chapter in an early draft, too. Ally Barrett (who invited me to preach on cloth, and who paints it so beautifully) is a blessing in my life, and I am grateful every day for the loving friendship of Miranda Griffin and Jane Grogan who, in the midst of—everything—make time for me. Acknowledgements alt text concluded: My parents were both gifted English teachers in New Zealand, profoundly changed by the five years they spent studying and teaching in London from 1968-72, their theatre-going and European travels in the school holidays. I owe them everything. My father Peter was a costume historian as well as a theatre designer: even after his untimely death in 1992, the local professional theatre would term the moment when a costume was seen to be as historically accurate from the back as from the front a ‘PL-J moment’; in 1967 he had designed and helped to make my mother’s wedding dress. It was a tremendous privilege to be able to return to New Zealand to care for my mother Sarah in the last few months of her life, in 2022-3. She was fiercely intelligent, curious, funny, wise, and kind to the very end, and I miss her every day.
November 11, 2025 at 11:21 AM
dommontmeat.bsky.social
Coucou @jlmelenchon.bsky.social 🤣 on perd la Boule pépé Mougeot ???
"Au Parlement européen, l’ensemble des groupes ont voté EN FAVEUR de la mesure. C’est le cas des Insoumis Manon Aubry et Emmanuel Maurel, des socialistes Raphaël Glucksmann et Sylvie Guillaume, de Renaissance, des LR ....."
khristy.bsky.social Jean-Jacques khristy @khristy.bsky.social · 12d
Claude Weill : Est-ce qu’une fois, une fois seulement, une fois de temps en temps, ils pourraient cesser de mentir ? De tromper l’opinion, de manipuler les faits, de caricaturer, d’hystériser tous les sujets.
De tout conflictualiser
November 4, 2025 at 1:53 PM
drannaclark.bsky.social
Presentation of Jesus, oil on wood panel 1516, by Fra Bartolommeo, Italian Renaissance artist & Dominican friar, died #OTD 1517; friend of Raphael, known for distinctive purity of line & harmonious composition.
Kunsthistorisches Museum Wien
October 31, 2025 at 5:53 AM
graham1906.bsky.social
Good To See You. youtu.be/tJUeHsHA-4I?...
After being closed for a lengthy period of refurbishment, Birmingham Museum & Art Gallery’s Pre-Raphaelite collection is now back on public display. Birmingham has the largest collection of Pre-Raphaelite art and design in the world, having collected Pre-Raphaelites for 150 years. In the late 19th century, pride in the success of Birmingham-born artist Edward Burne-Jones sparked early collecting and the collection has grown ever since. Pre-Raphaelite art was a 19th-century British movement that rejected academic and Renaissance conventions to return to the detailed, bright, and natural style of art from before Raphael. The original Pre-Raphaelite Brotherhood, founded in 1848 by artists like Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt, sought to create art that was truthful to nature, rich in meaning, and morally serious. Key characteristics include meticulous detail, vibrant colors, and subjects drawn from literature, medieval history, and everyday life. Birmingham's Pre-Raphaelite: Edward Burne Jones. Burne-Jones's poetic, mysterious paintings made him famous at home and abroad, even inspiring the young Picasso. Born in Birmingham in 1833, Burne-Jones discovered art as a student in Oxford. He and his friend William Morris were fascinated by medieval art and storytelling. They joined one of the original Pre-Raphaelites, Dante Gabriel Rossetti, to paint murals in Oxford about King Arthur and the Knights of the Round Table. Rossetti and his circle took Pre-Raphaelite art in a new direction, away from realism and towards beauty and legend. Burne-Jones became one of the leading painters of his day and as chief designer for the decorating firm Morris founded in 1861, he also created stained glass, tapestries and tiles. His last great completed project was the stained-glass windows in Birmingham Cathedral. Ford Madox Brown. The Last of England, 1852-55 Oil paint on wood panel Brown's painting about migration was partly inspired by his friend, the Pre-Raphaelite artist Thomas Woolner. Woolner sailed for Australia in 1852 hoping to make his fortune in the gold rushes. Brown himself was struggling in his career and thinking about leaving for India, then under British control through the East India Company. Brown and his partner Emma Hill modelled for the central couple, with their daughter Catherine as the child with the apple and baby Oliver just visible under the shawl. The picture has become one of the best-known Pre-Raphaelite paintings, perhaps because the characters' feelings as they face a long journey and an uncertain future connect with universal emotions about family, safety and home. It also resonates with modern day concerns about migration and people taking perilous journeys in small boats across the English Channel to reach the UK. Augustus Egg The Travelling Companions, 1862 Oil paint on canvas These two young women are on a journey through the south of France. The town of Menton can be seen through the train window. The women, possibly sisters, are dressed identically and mirror each other, but there are also subtle differences between them. This duality has inspired many different interpretations of the painting and made it one of the most popular in Birmingham's collection. Egg was older than the Pre-Raphaelites by about 10 years and not part of the group, but he was in tune with their ideals and bought some of their work. The painting is a particular favourite of mine and it rekindles memories of first seeing it when I was a small boy during Saturday morning visits to the gallery with my father.
November 1, 2025 at 9:09 AM
riotgrlerin.bsky.social
Prince John in The Annunciation by the Italian Renaissance artist Raphael.
October 19, 2025 at 11:13 PM
philosophypills.bsky.social
The School of Athens by Raphael Explained

#philsky #Renaissance #art

youtube.com/watch?v=9x0t...
The School of Athens by Raphael: Great Art Explained
YouTube video by Great Art Explained
youtube.com
October 16, 2025 at 2:06 PM
troycap.bsky.social
Transfiguration

Fabulous painting from the #Italian #Renaissance master Raphael, The Transfiguration, buff.ly/SCEUtt7

If you are interested in commissioning an oil painting on canvas of this art print, please send me an email at troy@troycap.com.
October 4, 2025 at 2:10 PM
imprecator.bsky.social
"la candidate LFI [15,8 %] est arrivée loin derrière Renaissance [26,4 %], et les candidats PS [9,4 %] et Place publique [8 %] ont été éliminés."

"cet éparpillement révélateur de tensions naissantes entre Place Publique, le parti de Raphaël Glucksmann, et le PS"

Et quand j'pense à Félicie ...
October 1, 2025 at 3:54 AM
zaibatsu.bsky.social
Watch How Raphael Transformed From a Young Genius to a Renaissance Master #RenaissanceArt #Video
Watch How Raphael Transformed From a Young Genius to a Renaissance Master
Watch How Raphael Transformed From a Young Genius to a Renaissance Master Even the world’s most talented old masters advanced their craft, skill, and vision across time. For Evan Puschak, that evolution can best be traced by comparing artworks that feature the same subject at different points in an artist’s career. A new video essay by Puschak, published through his Nerdwriter YouTube channel, explores exactly that through […] READ: Watch How Raphael Transformed From a Young Genius to a Renaissance Master
mymodernmet.com
September 29, 2025 at 2:32 PM
evelyneferron.bsky.social
Raphaël, le prodige de la Renaissance italienne

www.nationalgeographic.fr/histoire/ita...
September 27, 2025 at 12:50 PM
nathanfrancis79.bsky.social
#Renaissance Rivals #Michelangelo, #Leonardo, and #Raphael Hit #London in a Major #Art #Exhibition.

Three titans of Renaissance art are being brought together at the #RoyalAcademy this month.

news.artnet.com/art-world/re...
November 18, 2024 at 9:01 AM
geometrylastsupper.bsky.social
There is above the door behind Jesus a decorative circular pediment. The circle that was used to draw the curve of its outline isn't centred on the vanishing point of the perspective but slightly above it. Strange no?

geometrylastsupper.com

#Renaissance #LeonardoDaVinci #art #painting #geometry
From The Geometry of the Last Supper by Raphael Mouterde. It show the Leonardo da Vinci’s Last Supper and how the centre of the circle used to draw the decorative pediment above the door (behind Jesus) is placed above the vanishing point of the perspective.
January 27, 2025 at 10:50 AM
minimaliste13.cpesr.fr
En fait, pour que Sophia Aram et Raphaël Enthoven organisent une journée de boycott de X, il suffit que Renaissance vote une loi inspirée directement du programme du RN.
December 21, 2023 at 9:03 AM
signifier.bsky.social

'A School (of Athens) Reunion'

@remydean.bsky.social explains how Raphael painted the artists and thinkers of the #Renaissance as they saw themselves — successors to the great classical Greek philosophers…

medium.com/signifier/a-...

#art #ArtHistory #painting #philosophy
detail of ‘The School of Athens’ depicting Zoroaster, Ptolemy, Raphael, and Protogenes
August 15, 2024 at 4:17 PM
ankheur.bsky.social
Rejoins Renaissance ou Les Républicains Raphaël, ça ira plus vite parce que la "radicalité" de Mélenchon, lol.
Si vous enlevez le minimum de gauche qu'il y a à gauche on va pas aller loin.
August 20, 2024 at 12:14 PM
kahlo126.bsky.social
Another jigsaw puzzle complete!
‘The School of Athens’ by Raphael… Captured from the amazing original fresco at The Vatican, which I was saw in 2008 🥰🧩🇮🇹 #Jigsaw #Puzzle #Raphael #Raffaello #Renaissance
November 30, 2024 at 11:31 AM
geometrylastsupper.bsky.social
The disciples in the Last Supper form 4 groups. At each end of the table, the groups take the space of 3 modules of the grid. The two groups next to Jesus are confined within 2 modules each, leaving 2 for Jesus in the centre.

geometrylastsupper.com

#LeonardoDaVinci #art #geometry #renaissance
From The Geometry of the Last Supper by Raphaël Mouterde. It shows the 12x6 grid on the Last Supper and how the two groups of disciples on the left of Jesus and the two groups on the right are confined within the grid in this manner: 3-2-2-2-3 modules.
February 5, 2025 at 10:26 PM
roanna.bsky.social
Choose 20 books that have stayed with you or influenced you. One book per day for 20 days, in no particular order. No explanations, no reviews, just covers. Day 8/20.
#Books #BookSky 📚 #BookChallenge
Cover of R.A. MacAvoy's novel "Damiano." It shows a young Italian man in the Renaissance/Middle Ages walking in a field with a horse and a dog. He is dressed in a long brown robe with a green cloak and is carrying a staff. In the background, The Alps mountains. To the back left is an angel in white with white wings, depicting the Archangel Raphael.
November 24, 2024 at 2:26 PM
sf-nature.bsky.social
Vatican Completes Restoration of Raphael Rooms

The Vatican has unveiled the last of its restored Raphael Rooms, a major Renaissance art treasure. The restoration brings new life to these historic frescoes, allowing visitors to appreciate their vibrant colors and intricate details.

This project ...
June 30, 2025 at 1:22 AM
sf-nature.bsky.social
Vatican Completes Restoration of Raphael Rooms

The Vatican has unveiled the last of its restored Raphael Rooms, a major Renaissance art treasure. The restoration brings new life to these historic frescoes, allowing visitors to appreciate their vibrant colors and intricate details.

This project ...
June 30, 2025 at 1:32 AM
sf-nature.bsky.social
Vatican Completes Restoration of Raphael Rooms

The Vatican has unveiled the last of its restored Raphael Rooms, a major Renaissance art treasure. The restoration brings new life to these historic frescoes, allowing visitors to appreciate their vibrant colors and intricate details.

This project ...
June 30, 2025 at 5:12 AM
sf-nature.bsky.social
Vatican Completes Restoration of Raphael Rooms

The Vatican has unveiled the last of its restored Raphael Rooms, a major Renaissance art treasure. The restoration brings new life to these historic frescoes, allowing visitors to appreciate their vibrant colors and intricate details.

This project ...
June 30, 2025 at 6:22 AM
myownaccountme.bsky.social
Raphael
The Sistine Madonna. 1513, High Renaissance, religious painting, oil, canvas www.wikiart.org/en/raphael/t... www.wikiart.org/en/raphael/p...
April 7, 2025 at 1:48 PM
artofthemale.bsky.social
Disputation of the Eucharist

Thanks to my friend in Dickinson, Texas for purchasing this Fleece Blanket featuring a Renaissance masterpiece from Raphael:
Troy Caperton sold a Plush Fleece Blanket (50" x 60") on troy-caperton.pixels.com!
Click on the image for a larger view and to leave comments.
troy-caperton.pixels.com
April 28, 2025 at 2:15 AM
vandieviantland.bsky.social
Scène érotique (connu sous "La douleur"), Pablo Picasso, automne 1902
Picasso was obsessed with women and sex, and this passion could not be entirely fulfilled by the modernist masterpieces into which he poured so much love and sometimes loathing. From his youth to his old age – when he created a series of pornographic prints featuring the Renaissance master Raphael – he made erotica as well as his more public art. This early work records the day-to-day life of the young artist and brothel hound.
September 26, 2024 at 7:45 AM