Larissa Mohr, BA MA












During my studies I worked in various positions at the Department of Art History in Vienna, teaching as well as taking on organizational and administrative tasks as an academic tutor and study assistant. My choice of courses and my own methodological approach were guided by a combination of practice and theory. Thus, in addition to my university work, I also began to enrich my education early on through internships in museums, where I gained valuable practical skills in museum work. These experiences culminated last year in an employment at the Gemäldegalerie Alte Meister in Dresden, where I curated the exhibition “Raffael–Macht der Bilder. Die Tapisserien und ihre Wirkung”‚ together with Stephan Koja. The focus of the exhibition enabled me to expand my expertise on Raphael, which I had laid the ground for in my master’s thesis on the preliminary drawings for Raphael’s altarpiece called Pala Oddi. However, my dissertation project also arose out of practice when I came across the gap in research after having rediscovered a drawing by Giovanni da Udine.  

Research Interests:

My research focus is on drawings of the cinquecento, as well as printmaking. My main interest lies in the function of drawings as a preparatory medium for paintings. Thus, I am particularly interested in the reconstruction of design processes and the analysis of the development of a drawing style.

Current Research Project: 

The Drawings of Giovanni da Udine.

I am currently writing my dissertation on “The Drawings of Giovanni da Udine”. Although Giovanni da Udine (1487–1561) is undoubtedly one of Raphael's (1483–1520) most important workshop collaborators, his graphic œuvre has not yet been reviewed in depth. During his Roman years, Raphael received such a large number of commissions—from the decoration of the stanze and loggias, the tapestry series of the Acts of the Apostles for the Sistine Chapel, to private devotional pictures and portraits—that his workshop, which included among others Giovanni Francesco Penni, Giulio Romano, Perino del Vaga, Polidoro da Caravaggio, and Giovanni da Udine, became increasingly important. Even if the organization of the workshop is still being discussed by scholars and there is disagreement about the proportion of assistants’ participation in commissioned works, Giovanni’s involvement in terms of pictorial motifs appears to be beyond question: On the one hand, the graphic preparation and execution of animal and plant studies in the Vatican loggias and in the frescoes of the Villa Farnesina in Rome (Loggia di Amore e Psiche) can be traced back to him; on the other hand, his profound interest in antiquity—an interest he and Raphael shared—is manifested in the design of the stucco all’antica and the grotesques seen in the loggias. Although research in recent decades has been focussing on his vita and the frescoes and stucco work he has carried out, the draftsman Giovanni da Udine remains beyond our grasp. While numerous drawings have been preserved—especially from the time of Raphael and the following years up to the Sacco di Roma in 1527—their attribution to Giovanni is not always undisputed. However, it has not yet been possible to establish a unified picture of his working methods, the functions of his drawings, and his contribution to Raphael's creative process. The aim of the research project is therefore to collect the drawings of his entire creative period, to discuss them in terms of attribution, style, and chronology in a catalogue raisonné—which will be compiled for the first time—and then to systematize them in order to obtain a comprehensive image of the working methods of the draftsman Giovanni da Udine.


  • Larissa Mohr, "A Rediscovered Drawing by Giovanni da Udine", in: Master Drawings, Vol. 59, No. 3, 2021, pp. 345-60 [peer-reviewed].
  • Staatliche Kunstsammlungen Dresden, Stephan Koja in collaboration with Larissa Mohr (ed.), Raphael – The Power of Renaissance Images: The Dresden Tapestries and their Impact (exhib. cat. Gemäldegalerie Alte Meister, Dresden 2020/Columbus Museum of Art, Columbus 2020–2021), Dresden 2020.
    • Larissa Mohr, Sheet of Studies with Cranes, pp. 54–57.
    • Larissa Mohr, Seven Catalog Numbers on the Dresden Set of Tapestries, pp. 108–33.
    • Larissa Mohr and Saskia Wetzig, Between Inspiration and Transformation: Raphael and Antiquity, pp. 158–75.
  • Also published in German: Raffael – Macht der Bilder. Die Tapisserien und ihre Wirkung, Dresden 2020.
  • Larissa Mohr “Einblicke: Raffael – Macht der Bilder. Die Tapisserien und ihre Wirkung”, in: Dresdener Kunstblätter, 2/20, Dresden 2020, S. 83–84.
  • Marzia Faietti/Matteo Lafranconi in collaboration with Francesco P. Di Teodoro/Vincenzo Farinella (ed.), Raphael 1520–1483 (exhib. cat. Scuderie del Quirinale, Rome 2020), Milan 2020.
    Therein the following catalog numbers on drawings by Raphael: IX. 2a–b, pp. 412–13; IX. 8 and IX. 9, p. 414; IX. 14 and IX. 15, pp. 415–16; IX. 16a–b, p. 416; IX. 18, p. 417; IX. 19, pp. 417–18; IX. 24, p. 419; XI. 5 and XI. 6, p. 486.
    Also published in Italian: Raffaello 1520–1483, Milan 2020.

Workshops and Talks: