To celebrate the 500th anniversary of the death of Renaissance artist Raphael, a number of his designed tapestries will return to the lower walls of the Sistine Chapel in Vatican City. Raphael, who was a rival to Sistine Chapel painter Michelangelo, will share the same space for the first time in centuries.
The 10 tapestries were each sketched by Raphael and then woven by the studio of Pieter van Aelst in Brussels. Each work depicts the Acts of the Apostles, like “The Stoning of St. Stephen and St. Paul Preaching in Athens,” according to Reuters. The tapestries are made out of silk, wool, and gold and silver thread, which have been restored over the past decade by conservationists at the Vatican Museum. The tapestries were originally erected as placeholders as Michelangelo completed his work on the Sistine Chapel from 1512-1536.
The tapestries were some of Raphael’s final works before his death at 37 in 1520. Pope Leo X first commissioned the tapestries and saw the first placement of seven of them when they were revealed in 1519. Records are scarce, but the curator of the exhibition, Alessandra Rodolfo, estimates that the last time all tapestries were displayed as a set was in the late 1500s. Since then, they are usually displayed for scant hours at a time because of the age and state of the tapestries. This rare exhibition will only last for a week, closing on February 23, before a number of the tapestries will travel on to other museums around the world in celebration of their creator.
“This place is of universal importance, not only for visual arts but for our faith,” Barbara Jatta, director of the Vatican Museums, told Reuters. “So we really want to share this beauty with people, even if only for one week.”
This week, news outlets flock to TikTok, New York Times staff strikes, the problem with the phrase “late-term abortion,” and was the North Pole once a forest?
The 11,000-year-old wall relief discovered in Southeastern Turkey may reflect humans’ changing roles in the natural world during the Neolithic Revolution.
The Brazilian artist asked the museum to remove his work from a show about the Black experience, calling the institution a “White man’s theater.”
In an era of fast fashion and sweatshop exploitation, the artist demonstrates how far an industry will go to keep workers out of the picture.
This adventurous theater festival returns in person with 36 artists and companies from nine countries performing at different venues across the city.
Both Don Ed Hardy and Laurie Steelink refuse to adhere to traditional artistic hierarchies, an attitude they have shared throughout their 30-year friendship.
It took over 37 hours to pull 1,900 miles of glass filament to create the garment, now on view at the Toledo Museum of Art.
Learn more about the New York-based, globally linked program and its upcoming discussions on art and society in the time of AI and data governance.
An insidious racism is at play in interviewer Henri Renaud’s attempt to groom Thelonious Monk for public consumption on French television.
The last few years at the museum have not been without controversy, and Decatur will inherit a record of workforce struggles.
The program, along with recently announced visiting critics, will provide long term funding, promote access, and safeguard experimentation for future students of color.
Refugees of the Moria camp in Lesvos, Greece are behind the camera in the film Nothing About Us Without Us.
Helen Molesworth’s true-crime sensation marginalizes the artist’s life and legacy.