王立絵画彫刻アカデミーとラファエッロ : ローマ大賞受賞作品を手掛かりに

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  • L’Académie royale de peinture et de sculpture and Raphael : on the Grand Prix de Rome
  • オウリツ カイガ チョウコク アカデミー ト ラファエッロ : ローマ タイショウ ジュショウ サクヒン オ テガカリ ニ

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At the Royal Academy of Painting and Sculpture, before the querelle du coloris Raphael was regarded as the model with absolute authority. After the controversy, his authority became relative, but he continued to be revered as a model of painting with solemn subject matter. In the midst of the mainstream of light rococo taste, the Prix de Rome competition continued to be the only place for the inheritance of solemn themes. The Grand Prize-winning works gradually became less majestic in style than those of Raphael and Poussin, but they maintained a certain distance from the prevailing styles, adopted relatively subdued colors, and constantly referred to the clear narrative method in orderly composition found in Raphael’s Bible of the Vatican Logge. Even during the rise of the Rococo taste from the end of the 17th century to the latter half of the 18th century, Raphaelism, as one variant of pseudo-classicism, remained alive in the Prix de Rome. On the other hand, after David’s Belisarius, the more grandiose world of Raphael’s tapestries at the Sistine Chapel and Poussin was taken as a model, and strict classicism was restored and neoclassicism was established.

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