1. Raphaël (said), Sanzio Raffaello (1483-1520), La Vierge à l'Enfant avec L'Enfant Baptiste, The National Gallery, London © The National Gallery London
Raphaël, the legacy of a renaissance genius
The “Expérience Raphaël” exhibition at the Palais des Beaux-Arts in Lille is more than a retrospective of one of history’s most iconic and well-known artist, it's an exploration of the artistic and cultural forces that shape our understanding of Renaissance art. By combining an extraordinary collection of drawings from the Italian artist with advanced digital tools, the exhibition offers an immersive journey into Raphael's creative universe. However, it also prompts critical reflection on the enduring legacy of Raphael and Renaissance art within the broader context of art history, museology, and contemporary cultural narratives.
The gift of Raphaël's drawing to Lille
2. Raphaël (said), Sanzio Raffaello (1483-1520), Étude pour la figure d'Apollon sur la fresque du Parnasse, vers 1510-1511. Tracés en creux, pointe de plomb, plume et encore brune, traces d'un ancien montage doré - 34;7 x 24 cm, Palais des beaux-Arts de Lille, © GrandPalaisRMN (PBA, Lille) : Adrien Didierjean
The story of how Lille became home to one of France’s most important collections of Raphael’s drawings is intertwined with the life of Jean-Baptiste Wicar, an 18th-century painter, collector, and connoisseur. Born in Lille in 1762, Wicar trained under Jacques-Louis David before embarking on a career that took him to Italy, where he became a key figure in the preservation and collection of Renaissance art.
Wicar’s fascination with Raphael was emblematic of the neoclassical era’s reverence for the artist, seen as the embodiment of harmony and ideal beauty. Over his lifetime, Wicar assembled an impressive collection of Italian drawings, including 37 attributed to Raphael. Shortly before his death in 1834, Wicar bequeathed this collection to his hometown, ensuring that Lille would forever be associated with the legacy of one of the Renaissance's greatest masters.
These drawings, spanning nearly two decades of Raphael’s career, offer an intimate glimpse into his creative process. From early studies in Urbino and Perugia to preparatory sketches for his Vatican frescoes, they reveal the artist’s evolution, his technical mastery, and his constant experimentation. The fragility of these works means they are rarely exhibited, making their inclusion in “Expérience Raphaël” a historic occasion.
The life of Raphaël, from Urbino to Eternity
3. Bergeret Pierre Nolasque (1782-1863), Honneurs rendus à Raphaël après sa mort, Rueil-Malmaison, château de Malmaison et Bois-Préau, © GrandPalaisRmn (Musée des châteaux de Malmaison et de Boix-Préau) / Daniel Arnaudet / Gérard Blot
Raphael Sanzio, born in 1483 in Urbino, came at the heart of the Italian Renaissance, a time of artistic, intellectual, and scientific flourishing. His father, Giovanni Santi, a court painter, introduced Raphael to the world of art, which would profoundly shape his path.
But tragedy by the age of 11, Raphael lost both parents. These formative years, marked by loss but also surrounded by the court’s vibrant cultural life, gave Raphael a unique sensibility that permeates his work.
At some point in the 1490s, Raphael began training under Pietro Perugino in Perugia. Perugino’s influence is evident in Raphael’s early works, which exhibit a delicate harmony and clarity of form.
By 1504, Raphael moved to Florence, immersing himself in the artistic milieu dominated by Leonardo da Vinci and Michelangelo. He absorbed their innovations, incorporating Leonardo’s sfumato and anatomical precision and Michelangelo’s dynamic compositions, all while maintaining his own distinct aesthetic of grace and balance.
In 1508, Raphael was summoned to Rome by Pope Julius II. This marked the beginning of his most celebrated period, during which he painted the iconic frescoes in the Vatican's Stanza della Segnatura, including "The School of Athens". His Rome years were marked by relentless productivity, as he worked on commissions ranging from altarpieces to architectural projects. Despite his meteoric career, Raphael’s life was tragically cut short in 1520, when he died at the age of 37.
The Renaissance Canon: universality
or exclusivity ?
Raphael’s works are often presented as universal symbols of beauty and harmony, but this universality deserves scrutiny. The Renaissance, and Raphael’s role within it, is frequently framed as the pinnacle of artistic achievement, marginalizing other cultural traditions and artistic expressions.
The Lille exhibition reinforces this perspective by centering Raphael’s works as the culmination of a uniquely European cultural legacy. While the digital recreations of lost works, such as the "Pala Baronci", and the virtual exploration of the Vatican’s Stanza della Segnatura, are undeniably impressive, they also tether the narrative firmly to a Eurocentric framework. This approach overlooks the broader global exchanges of ideas and aesthetics that were already taking place in the 16th century, such as the influence of Islamic and Byzantine art on Renaissance Italy.
Raphaël legacy, a double-edged myth
The enduring image of Raphael as the “divine artist” was cultivated by his contemporaries and solidified by later art historians like Giorgio Vasari. Vasari described Raphael as a genial figure whose talent was matched by his grace and sociability, setting him apart from the more volatile Michelangelo. This myth has endured, but it raises questions about how we construct narratives around genius and artistic greatness.
The Lille exhibition seeks to present Raphael as both a genius and a working artist, emphasizing the collaborative nature of his practice. The drawings on display reveal the iterative process behind some of his most iconic works, showcasing a more human side of Raphael. Yet, the exhibition does not entirely escape the trap of hero-worship, as it leans heavily on the narrative of Raphael as a singular genius who epitomized the ideals of the Renaissance.
Digital innovation : expanding access or Eroding Aura
One of the exhibition’s defining features is its use of digital tools to enhance the visitor experience. From 360° projections that reimagine Raphael’s life to interactive displays that deconstruct his artistic process, these technologies make his work more accessible to a contemporary audience.
However, this reliance on digital augmentation raises questions about the “aura” of original artworks, as theorized by Walter Benjamin. Does the virtual simulation of the "Pala Baronci" or the immersive exploration of Raphael’s frescoes dilute the impact of encountering his physical drawings? Or do these tools serve as necessary bridges, enabling deeper engagement with works that might otherwise feel remote to modern viewers?
“Expérience Raphaël” is both a tribute to a towering figure of the Renaissance and a catalyst for deeper inquiry into the ways we understand and value art. By showcasing Raphael’s drawings alongside digital innovations, the exhibition bridges the gap between past and present, offering a multifaceted portrait of the artist.
Yet, it also leaves lingering questions about the narratives we construct around art and its creators. Is Raphael’s legacy one of eternal universality, or is it a cultural construct shaped by historical and institutional biases? As we continue to celebrate his work, perhaps the most fitting homage we can pay to Raphael is to view his legacy not as a fixed ideal but as a dynamic, evolving dialogue between art, history, and the present.
Informations about the exhibition
Place: Palais des Beaux-Arts of Lille
Date: 18.10.2024 – 17.02.2025
Curators: Juliette Singer
Ticket: Available at the front desk of the museum
Informations about the Palais des Beaux-Arts of Lille (PBA)
Palais des Beaux-Arts
Place de la République
59 000 Lille
Phone: +33 (0)3 20 06 78 28