Charles Hope

For centuries​ the reputation of Venetian Renaissance painters largely depended on the comments made about them in Giorgio Vasari’s Lives of the Artists. Vasari was in Venice for several months in 1542, but he was evidently unaware that Lorenzo Lotto, a generation older than him, was also living there and that they had acquaintances in common. During his visit he made notes about a...

The demand for something by his hand was surely an early instance of the kind of celebrity culture with which we are now very familiar. Michelangelo’s contemporaries were certainly in awe of his personality, and this was probably not entirely unrelated to the fact that his name led to endless not entirely unserious suggestions that his work was angelic or divine. Today any sheet of paper that contains so much as a rough sketch by Michelangelo or a line of his very distinctive handwriting has acquired a cachet that makes it almost like a religious relic. Such a sheet gives, or seems to give, a direct access into his way of thinking.

Within​ a generation of Raphael’s death in 1520 it was widely recognised that his career, along with those of Leonardo da Vinci and Michelangelo, marked a turning point in the development of painting in Italy and, by implication, in the rest of Europe. As Pierre-Jean Mariette remarked in 1729, in the so-called Recueil Crozat, a lavish collection of reproductions of famous European...

The collaboration​ between Michelangelo and Sebastiano del Piombo, the theme of the beautiful if rather didactic exhibition now at the National Gallery, is one of the strangest episodes in the history of Renaissance art. Sebastiano was born in Venice around 1485, ten years after Michelangelo. Aged about twenty, Sebastiano became attracted by the work of another young local artist,...