DOI
https://doi.org/10.25772/4Y96-J084
Defense Date
2005
Document Type
Thesis
Degree Name
Master of Fine Arts
Department
Art History
First Advisor
Dr. Fredrika Jacobs
Abstract
This thesis argues that Raphael's portrait, Baldassare Castiglione, is three portraits in one: 1) a "speaking likeness" of the subject, 2) a portrait of the "perfect" courtier, and 3) a "shadow" portrait of the Court of Urbino in the early sixteenth century. The formal analysis of the painting is presented in the context of the paragone of word and image expounded by its subject in his masterpiece, Il Cortegiano. Both author and artist demonstrate the concepts of sprezzatura (an artful artlessness) and grazia (graceful elegance) in the creation of their portraits, as well as avoidance of affetazione (affectation). It is concluded that Raphael's response to the challenge of the text/image paragone in Il Cortegiano determined the formal choices he made as he painted his friend Baldassare Castiglione.
Rights
© The Author
Is Part Of
VCU University Archives
Is Part Of
VCU Theses and Dissertations
Date of Submission
June 2008