> 1 year ago
How to read it: Michelangelo’s Taddei Tondo
Currently on display at the National Gallery, the Virgin and Child with the Infant St John, known as the Taddei Tondo, is the only marble sculpture by Michelangelo Buonarroti in a UK collection. It will return to the RA to join our new collections displays for our 250th anniversary in 2018.
< 2 years ago
The tidemarks of Florence’s great flood
Fifty years since Florence was hit by the floods that destroyed not only lives but invaluable art treasures, Claudia Pritchard reports on the legacy.
> 2 years ago
How to read a Renaissance painting
Renaissance painters combined technical innovation with a richly symbolic visual language. But what did it all mean? The RA’s Lucy Chiswell zooms in on an example from our exhibition In the Age of Giorgione.
< 3 years ago
The portrait debate: Giorgione or Titian?
Who painted this young Venetian nobleman? When it comes to Giorgione, questions of attribution have divided opinion for centuries. We invited two experts to argue it out – read both sides then cast your vote.
3 years ago
Giorgione’s Venice: A beginner’s guide
Coming to the RA this spring are iconic works by Giorgione, Dürer, Bellini, Titian and more, in a celebration of Venetian painting in the early 16th century. Here are six key insights into one of the most influential moments in art history.
4 years ago
Why Moroni should be as famous as Titian
As visitors to the RA discover the work of Giovanni Battista Moroni, James Hall looks at the particular genius of this overlooked Renaissance portraitist – and why he lost out to the likes of Titian.
4 years ago
Point of view: What it’s like to sit for a portrait
As our exhibition of the great portraitist Giovanni Battista Moroni opens, the RA’s Charles Saumarez Smith reflects on the experience of having his own portrait painted.
4 years ago
Giovanni Battista Moroni: A beginner’s guide
In October, the RA opens an exhibition of work by one of the greatest portrait painters of all time, Giovanni Battista Moroni. But he is comparatively little known – certainly when compared to the giants of Italian painting like Titian, Veronese and Tintoretto. We spoke to exhibition curator Arturo Galansino to find out more about what sets Moroni apart.