Below I reprise my essay on Raphael's Czartoryski Portrait, a post that first appeared on this site on October 28, 2014. The essay had originally appeared on the late Hasan Niyazi' s very popular art history blog, Three Pipe Problem. Hasan died in October 2013 in his mid-thirties at about the same age as his beloved Raphael. He had done a fine survey of the attribution issues and provenance of this painting, and it led me to consider the sex of the sitter.
|Raphael: Portrait of a Young Man|
Lost during Nazi occupation of Poland
In a recent post at "Three Pipe Problem" Hasan Niyazi presented a very comprehensive study of the attribution and provenance history of a famed “Portrait of a Young Man”, usually attributed to Raphael. The painting was one of those looted from the Czartoryski collection in Poland by the Nazis during WWII and has still not been recovered.
Three Pipe Problem did mention that scholars have disagreed on the identity of the subject of the painting, and that even one, Oskar Fischel, had claimed that it was a young woman, and not a man. This struck a chord with me for on first glance the sitter appeared to me to be a woman of a particular kind.
|Giorgione: Portrait of a Young Woman (Laura)|
The painting reminded me of Giorgione’s Laura where a young woman in a state of undress is partially covered with a man’s robe. Scholars of Venetian art have noted that both the disheveled look and the man’s robe indicate a courtesan. In “Giorgione, Myth and Enigma”, the catalog of the 2004 Giorgione exhibition, the entry for Giorgione’s Portrait of a Young Woman (Laura) noted the following.
According to Junkermann (1993) she is wearing a male garment, which far from being a reference to marriage, instead indicates that the model has adopted a typical male role, perhaps that of a poet; but that does not exclude that she may also be a courtesan. Her sumptuous fur-lined red garment is, more than an item of male attire, the winter dress of Venetian women of pleasure (Pedrocco 1990; Junkermann 1993; Anderson 1996), according to Cesare Vecellio’s Habiti (1590);… (catalog entry #8)
My first impression led me to take a look through other Raphael portraits of men and women. Even a cursory look at a Raphael catalog indicated that the hair of a Raphael man is rarely in such a long and stringy, even unkempt, fashion. Moreover, with one exception he never parts their hair in the middle or even exposes their foreheads. Men’s foreheads are usually covered with a cap that sits firmly on top of the head and not worn at the same rakish angle as in the lost painting. Raphael’s women, even Madonnas, inevitably have their foreheads exposed with hair neatly parted in the middle.
It is true that most of Raphael’s woman have hair well done up and combed but I think Raphael could have been depicting a courtesan posing in her lover’s clothing. It looks like she’s sitting in her shift with a man’s robe casually thrown over her shoulder, and a man’s cap pinned to the back of her head as if to say “she’s mine” in a somewhat less obvious way than Raphael did in La Fornarina.
|Raphael: La Fornarina|
My first impression led me to get a copy of Oskar Fischel’s two-volume study of Raphael, a work that represented the culmination of a lifetime devoted to the rehabilitation of Raphael. Like the Czartoryski painting Fischel was also a casualty of the Nazis. He was born in 1870 and the book jacket describes him in this fashion. *
Oscar Fischel was a well-known art historian and scholar. Among the important appointments he held was that of Professor of Art in Berlin University. He was author of numerous works on Italian Art, Modern Art, the History of Costume and the History of the Theatre. But the theme that lay nearest his heart was the art of Raphael. He made this his life’s work.
Unfortunately, Fischel’s career was interrupted in 1933 when he was dismissed from his post at the University of Berlin by the new Hitler regime. Student protests forced his reinstatement but he was finally dismissed in 1935. Apparently, museum officials in London were successful in bringing him to London where he died in 1939. His study of Raphael was translated and published in London in 1948 with the first volume containing text, and the second prints. The publisher summarized Fischel’s approach in this way.
Oscar Fischel contends that Raphael has been misrepresented in the same manner as Mozart. His natural grace and the apparent ease and fluency with which his work was accomplished have led to the charge that he was lacking in deeper understanding. The author is at pains to refute these criticisms. He reveals to us not the superficial, sentimental, pious and graceful artist, but a true poet and creator, interpreting the fundamental and essential meaning of life.
Fischel devoted only half a page to the Czartoryski painting discussing it right after the more famous La Donna Velata. To put it in context here are a few of his words on that woman that lead him into a discussion of the Czartoryski.
The Donna Velata of the Pitti Palace is the result of a commission of his very own, in the midst of the great frescoes and orders for altarpieces; it is a love-prompted improvisation on the most charming of themes—the innocence and womanly dignity of a young Roman woman of the people. The colour echoes this harmony of character…. (123)
|Raphael: La Donna Velata|
We know that the master found the purity of her young features, with the dark, beaming charm of her look, worthy of the otherworldly revelation of the Sistine Madonna. Years ago it was supposed that her still dazzling features, although quickly coarsened, might be recognized in the picture in the Czartoryski Gallery at Cracow. Once there was a much-disputed idea that it might be a self-portrait of Raphael, also that it perhaps represented the Duke of Urbino, or, finally, the Fornarina. Sebastiano del Piombo was mentioned as its painter, as so were as many other artists as there were experts who stood in front of the picture when it was at Dresden during the last war.
Fischel must have been among those experts who saw the painting in person while it was in Dresden. He saw a young woman.
the hair with its locks reluctantly breaking loose on the temples, and the deep-cut thumbs, warrant the conclusion that it is a woman who is here represented; also the secret of the bosom is rather betrayed than guarded by the fur cloak, not put on, but thrown as if on the spur of the moment over the shirt. This negligee has a poetic significance only if it is a woman who is in question. The right forearm seems to rest on the bottom of a lute. The white of the chemise, the gold and brown of the gown with its fur collar, the greenish-golden cover on the table, form with the gleaming flesh-tones, a boldly conceived harmony, gorgeous to a degree, which is gathered together within the grand, free form of the silhouette. The painting can be compared for triumphant power with the group of the Pope in the Attila; like this fresco, it is of inestimable value as the last evidence quite incontestably from Raphael’s own hand of his most personal chromatic expression. (125)
|Raphael: Portrait of a Young Woman|
Hasan Niyazi’s post on “Three Pipe Problem” also provided some inadvertent information that supports a “young woman” reading. Two early engravings taken from the painting or copies emphasized female characteristics especially the exaggerated curl of the lips. Also, Hasan presented a striking detail from the School of Athens that would seem to indicate a juxtaposition of Raphael and his lover, the only two figures in the famous fresco looking out at the viewer.
Although Hasan lived in Australia and was more than 40 years younger than me, we had become friends and frequent correspondents after our initial contact in the blogosphere. We proof-read, edited, and corrected each other. Despite differing opinions, we both reveled in the give and take. I even thought that Hasan might be the one to preserve my work on Giorgione and Titian but it was not to be.
*Oskar Fischel, Raphael, translated from the German by Bernard Rackham, Volume I, Text, London, 1948, V. I.