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348:, commissioned earlier that year. The original declared intention was for both paintings to go to Narbonne Cathedral, which it is unlikely the cardinal ever visited. It seems likely that the idea for what inevitably became a contest was suggested by Michelangelo, who the previous year had enlisted Sebastiano "as a kind of deputy for him in painting", with the specific intention of contesting Raphael's primacy in painting in Rome, Michelangelo himself having returned to his backlog of promised projects in sculpture. In addition to being a friend of Sebastiano, he was eager to show up his bitter rival Raphael. The cardinal fell in with this idea.
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three. However, as the work was carried out the "alarming discovery" was made that the layer nearest to the paint was actually not canvas but sheets of paper, badly decayed and partly separated from the ground to the paint. The plan was changed to add layers of warm wax-resin in which an inert synthetic textile was fixed, before attaching to a composite board and paper honeycomb solid support. This method would be unlikely to be used today, but did stabilize the flaking. By 2009 it was tending to flex when the painting is moved, so this is now avoided as far as possible.
29:
369:, all of Lazarus and the two men supporting him, except for one of a foot, perhaps relating to Christ. Modern imaging techniques show that a different figure of Lazarus exists in the underdrawing, which was apparently changed to match one of Michelangelo's drawings (illustrated below) while painting was in progress, perhaps when Michelangelo visited Rome in January 1518. A drawing by Sebastiano seems to contain a sketch for this figure as well as one for the Saint Peter in the painting.
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358:" of Michelangelo, rather vague phrasing that has been much discussed. One translation could be "under the direction and in certain parts to the designs" of Michelangelo, but this and other possibilities leave room for a wide range of interpretations. Sebastiano intended to charge for the painting based on the number of figures in it, a common way of valuing paintings at the time.
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545:, the painting's "most vocal admirer", is recorded as restoring and repainting damaged areas on Lazarus' right leg. It was re-varnished in 1834, 1852, and 1867, and cleaned and re-varnished in 1881, after which a sheet of glass was added to protect it from London's air. After the painting was evacuated in 1939 to
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good deal of influence from
Raphael, and although the two paintings for Narbonne have only ever been seen together for a few days in 1520, and were both painted in conditions of great secrecy by the rival artists, in many ways they are a well-matched pair, showing how much Sebastiano had absorbed from Raphael.
944:: "These altarpieces, when finished, were publicly exhibited together in the Consistory, and were vastly extolled, both the one and the other; and although the works of Raffaello had no equals in their perfect grace and beauty, nevertheless the labours of Sebastiano were also praised by all without exception."
534:. According to the National Gallery's detailed account of the restoration history and current condition of the painting: "There can be little doubt that this drastic and dangerous intervention was totally unnecessary". Much damage to the painting seems to have resulted, and the connoisseur and art theorist
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After the new support was added much old varnish was removed, and limited retouching performed. The extensive work, and condition of the painting, allowed the taking of an unusually large number of paint samples, which have now been re-examined using the more advanced scientific techniques available
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at the
National Gallery (ended 25 June 2017) it was shown together with several of the preparatory drawings for it by both artists, and letters between them. For the exhibition the National Gallery gave the painting a permanent new frame, with the bottom copying the original element still in Narbonne
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The making of the frames had been a cause of argument between
Raphael and Sebastiano. Perhaps as a tactic to prevent a public side-by-side display in Rome, Raphael wanted the frames made on arrival in France, but Sebastiano insisted they be made in Rome. Sebastiano evidently prevailed, as below the
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to Rome, and shows that his adaption to a monumental and classical Roman style was effectively complete, though the colours "retain a Venice-like luminosity that enchants the eye". Despite being conceived as a move against
Raphael, with the help of Michelangelo, in its general composition it shows a
168:
was famous, giving "the greatest and most subtly varied range of colours ever seen in a single painting". However, the complicated restoration history of the painting, and aspects of
Sebastiano's technique combined with effects of age, have led to a general darkening of the painting, and significant
267:
The painting is signed in Latin "SEBASTIANVS. VENETVS. FACIE|BAT" ("Sebastian the
Venetian made this") on the stone platform below Christ. Born Sebastiano Luciani, after coming to Rome he had become "Sebastiano Veneziano", until in 1531 he became the Keeper of the Seal to the Papacy, and so got the
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In 1958 a major re-structuring of the support was done, aimed at reducing the presence of glue in several layers of canvas underneath the paint. These layers were contracting, causing the paint to lift and flake. It was thought that there were four canvas layers, of which it was planned to remove
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In
Frankfurt there is a drawing by Sebastiano of the figure of Martha, which is close to the painted figure. The existence of more drawings by Michelangelo, now lost, for at least the figure of Christ, has been postulated by some scholars. In addition, there are a number of letters between the
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The help received from
Michelangelo was limited to the main male figures (see below), and the crowd and landscape background was Sebastiano's composition. The landscape has ruins and a bridge that look like a Roman setting, but the cloudy sky and other aspects suggest a Venetian landscape.
258:, making it harder to pick out any specific individuals from the crowd that the gospel account mentions. Michael Levey said the painting was "full of obvious portrait heads", but there has been much much less speculation as to the individuals with inserted likenesses than for Raphael's
157:, the painting is "a tour de force of massed, gesticulating bodies and glittering colour ... Perhaps all the elements have not been quite successfully fused, but the grand manner of the composition is impressive, and in its conscious rhetoric the painting looks forward to the Baroque."
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No doubt because it soon left Rome for the artistic backwater of
Narbonne, the earliest print of the painting was remarkably late, in an illustrated account of the Orleans Collection, published in 1786 on the eve of its dispersal. This was by R. De Launay, and in reverse.
530:, the panel used a number of vertical boards, where a Venetian painting would be more likely to use horizontal ones. In the 1770s there was a large campaign of restoration of the paintings in the Orleans Collection, which included transferring this and many others
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artists and others which record the progress of the commission. These reflect that
Michelangelo was away from Rome during the period of painting, and would only have seen the half-finished work when he made a visit in January 1518. In particular
576:, Sebastiano's first major collaboration with Michelangelo. By 2017, imaging had indeed revealed that the present figure of Lazarus, based on Michelangelo's drawing, lay over a different figure, presumably designed by Sebastiano.
497:. The price was very high at 3,500 guineas. Because of its importance it was catalogued as No. 1 in Angerstein's catalogue, and when the Angerstein collection was bought by the British government in 1824 for the foundation of the
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Although completed by the start of 1519, the completed painting was apparently only exhibited to a wider public in the Vatican in late December 1519 and then again in the following April, before being sent to
481:. It came to London in 1793 and was eventually acquired by the English consortium set up to disperse the collection. In one of the auction sales dedicated to the collection beginning on 26 December 1798
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and Medici devices, and there are two gilded and decorated classical columns at the sides, with an elaborate pediment above. It is thought possible that the original frame was designed by Michelangelo.
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in medieval and Renaissance art, as both the most remarkable and the easiest to recognize visually, because of the grave-cloths. As well as following the Transfiguration in traditional sequences of the
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and later Pope Clement VII (r. 1523–24), in what was effectively a contest engineered by Michelangelo, using Sebastiano as "a kind of deputy", or "cat's paw", in a rivalry between the two and
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Langmuir, 150, these sequences generally followed the liturgical calendar but the celebrations of both Lazarus and the Transfiguration had variable dates until the end of the Middle Ages
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to protect it from the risk of German bombing in World War II, losses of paint from flaking were noticed, and various attempts in the following years to stabilize the situation failed.
437:, the Paris seat of the Dukes of Orléans. He died the following year, and the replica replacement promised as part of the purchase was eventually sent around 1750; it was probably by
150:) is the same size of 381 cm × 299 cm (150 in × 118 in) and was commissioned for the same cathedral. The verdict of Roman critical opinion was that Raphael's painting won.
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The main moment shown is just after John 11:45 when : "Jesus said to them, "Take off the grave clothes and let him go". But in the upper left background a group of Jews and
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to be seen was not possible. It was thought that this might shed more light on any contribution by Michelangelo to the underpainting, as it has for the Viterbo
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from the dead is followed closely, though different moments in it are combined in the picture. For Sebastiano and his contemporaries, Mary the sister of
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1249:"M&S": Exhibition handlist for "Michelangelo & Sebastiano", 2017, National Gallery. Refs to catalogue numbers, or, if stated, sections.
250:, given an orange overgarment, as often in art. The others are probably not intended to be individually identifiable. By this stage of the
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Compositional drawings for the figures of Lazarus and his two attendants were supplied by Michelangelo. In addition to the drawing in the
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wrote that "those who have only seen it since that fatal operation ... can form but very imperfect notions of what it was before".
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and some of the pigments have as a result lost their brightness, most notably the red of Christ's robe, which has turned pink.
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was a separate person. She is the figure kneeling in front of Christ, which in the gospels precedes the resurrection.
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replica in Narbonne the altar still has part of a "sophisticated" frame in gold on blue that carries above the two
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are crowded to the left of Christ and behind him. The younger man standing at the left, seen in profile, is Saint
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came straight from being displayed by his body as it lay in state in his studio. In the event, as described by
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are depicted discussing the event, which completes the story in the gospels. The standing female in orange is
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family, whose name means "doctors" in Italian, were often attracted to subjects showing Christ as a healer (or
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the canvas was now catalogued as NG1, making it officially the first painting to enter the National Gallery.
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in London, where it is "NG1", the first painting catalogued at the founding of the gallery in 1824.
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NGTB, 26; Von Teuffel, Christa Gardner. "Sebastiano Del Piombo, Raphael and Narbonne: New Evidence",
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Langmuir, Erica, The National Gallery companion guide, 1997 edition, National Gallery, London,
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Enlarged detail from above; the 16th-century base of the frame, copied in the new London frame.
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in the 2000s. This has allowed a good idea of the many complex mixtures of pigments used.
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in Paris, which was soon effectively open to the public in the magnificent setting of the
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in 1511, may have intended to dazzle the Roman critics with the colouring for which the
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was a trusted assistant to Michelangelo, who remained in Rome reporting on progress.
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The painting was begun some five years after Sebastiano had moved from his native
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381 cm × 299 cm (150 in × 118 in)
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illustrated here, there are other drawings by Michelangelo there and in
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413:. The original plinth of the frame can be seen below the painting.
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of a diamond ring with feathers rising through it, and the motto
1243:, Oxford Art Online. Oxford University Press. Web. 1 Apr. 2017.
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Despite its large size, the painting was originally painted on
1055:"Sebastiano's debt to Michelangelo made clear in London show"
1252:"NGTB": Dunkerton, J., Howard, H. "Sebastiano del Piombo's
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thereafter, meaning "of the lead", from his new job title.
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and later Pope Clement VII (r. 1523–24), commissioned a
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changes in some of the large number of colour shades.
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1278:"The Raising of Lazarus" by Sebastiano del Piombo
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246:, and the bearded kneeling man at lower left is
121:in France, it is now normally in Room 18 of the
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509:Cathedral. This is in blue and gold, with a
477:The painting was sold in 1792, included in a
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1539:Paintings formerly in the Orleans Collection
1184:, National Gallery Catalogues, London 1975,
466:Probably in 1771, Sebastiano's painting was
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1524:Paintings in the National Gallery, London
986:, vol. 126, no. 981, 1984, pp. 765–766.,
773:Freedberg, 113; Langmuir, 150; Gould, 244
160:Sebastiano, who had arrived in Rome from
1529:Paintings of the Resurrection of Lazarus
1383:Salome with the Head of John the Baptist
479:block purchase of the Orleans Collection
389:. Raphael had died on April 6, and his
1287:, 2017, National Gallery Company Ltd.,
1239:Lucco, Mauro, "Sebastiano del Piombo",
1229:, 1987, National Gallery Publications,
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468:transferred from wooden panel to canvas
849:British Museum; the other main drawing
463:or shelf below the frame of the copy.
356:sotto ordine e disegno in alcune parti
1182:The Sixteenth Century Italian Schools
803:Jones & Penny, 238; Langmuir, 150
654:Langmuir, 150; Jones & Penny, 238
309:Drawing of Lazarus and attendants by
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663:By coincidence, it was in 1517 that
338:from Sebastiano in competition with
1280:, 1967, National Gallery (30 pages)
1258:National Gallery Technical Bulletin
1534:Paintings by Sebastiano del Piombo
931:Gould, 243; Jones & Penny, 238
922:Gould, 245; Jones & Penny, 238
493:, apparently at the urging of Sir
441:and still hangs in the cathedral.
57:Oil on wood, transferred to canvas
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1308:on the National Gallery's website
16:Painting by Sebastiano del Piombo
128:It was commissioned by Cardinal
1227:The National Gallery Collection
425:In 1722, the Regent of France,
1256:: A History of Change", 2009,
1064:by Donald Lee, 16 March 2017,
895:Gould, 243–244; M&S, 28–33
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1399:St John Chrysostom Altarpiece
1285:Michelangelo & Sebastiano
999:Langmuir, 150–151; Gould, 245
710:Gould, 242–243; Langmuir, 150
506:Michelangelo & Sebastiano
254:, not even Christ is given a
1165:Painting in Italy, 1500–1600
1053:M&S, 22 "The Frame...";
942:Vasari, "Life of Sebastiano"
427:Philippe II, Duke of Orléans
105:of 1517–1519 by the Italian
1463:Pope Paul III with a Nephew
886:M&S, 23; Gould, 244–245
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904:NGTB, 26; M&S, 28, 54
665:Jacques Lefèvre d'Étaples
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1375:The Judgement of Solomon
755:Langmuir, 150–151; Lucco
541:In the 1820s the artist
342:'s late masterpiece the
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73:National Gallery, London
1167:, 3rd edn. 1993, Yale,
990:, gives fuller details.
983:The Burlington Magazine
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1447:The Raising of Lazarus
1391:Woman as a Wise Virgin
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187:Life of Christ in art
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1162:Freedberg, Sydney J.
962:NGBT, 29; Gould, 244
536:Richard Payne Knight
532:from panel to canvas
261:The School of Athens
1415:Portrait of a Woman
1407:The Death of Adonis
1149:M&S, 24, 25, 27
792:British Museum page
556:The central figures
518:Restoration history
244:John the Evangelist
1254:Raising of Lazarus
1060:2017-04-07 at the
764:Freedberg, 113–115
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146:(now in the
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115:Michelangelo
113:, for which
97:
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1519:Altarpieces
1450:(1517–1519)
1402:(1510–1511)
1262:online text
1131:NGTB, 33–44
1122:NGTB, 30–32
1113:NGTB, 30–31
1104:NGTB, 29–30
1026:NGTB, 28–39
877:M&S, 27
524:wood panels
449:the Medici
248:Saint Peter
101:is a large
1508:Categories
1423:Polyphemus
1235:0947645349
1218:185709218X
1208:0300030614
1190:0947645225
1173:0300055870
1156:References
1008:Gould, 245
746:Gould, 242
667:published
270:del Piombo
202:Chapter 11
103:altarpiece
84:Raphael's
62:Dimensions
1487:Giorgione
1458:(c. 1526)
1434:(c. 1512)
1426:(c. 1512)
1394:(c. 1510)
1386:(c. 1510)
1364:Giorgione
1351:Paintings
737:Levey, 62
609:Levey, 62
511:cartouche
268:nickname
229:Pharisees
49:1517–1519
1483:(master)
1140:NGTB, 33
1095:NGTB, 29
1086:NGTB, 28
1077:NGTB, 26
1058:Archived
1035:NGTB, 29
971:NGTB, 26
728:NGTB, 42
719:NGTB, 35
627:NGTB, 36
461:predella
447:festoons
383:Narbonne
140:, whose
70:Location
1474:Related
1200:Raphael
940:Lucco;
489:banker
452:impresa
367:Bayonne
340:Raphael
330:, then
322:In Rome
301:History
208:of the
204:of the
195:medicus
178:Lazarus
138:Raphael
132:, then
109:artist
1466:(1534)
1418:(1512)
1410:(1512)
1368:Titian
1291:
1233:
1216:
1206:
1188:
1171:
700:. NIV.
487:London
457:SEMPER
395:Vasari
352:Vasari
290:Venice
191:Medici
162:Venice
54:Medium
36:Artist
1439:Pietà
988:JSTOR
821:Lucco
618:Lucco
580:Notes
574:Pietà
276:Style
1366:and
1289:ISBN
1231:ISBN
1214:ISBN
1204:ISBN
1186:ISBN
1169:ISBN
256:halo
238:The
46:Year
197:).
1510::
1276:,
1225:,
1198:,
1180:,
696:.
685:^
89:,
1370:)
1336:e
1329:t
1322:v
317:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
