Printmaking theory from the beginning of printmaking until its establishment within the academic arts in the 18th. century

版画理论从版画诞生之初一直到18世纪在学院派艺术中确立。

• 批准号: 144119232
• 负责人: Dr. Barbara Stoltz
• 金额: --
• 依托单位: Kunstgeschichtliches Institut
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2009
• 资助国家: 德国
• 起止时间: 2008-12-31 至 2015-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/144119232?language=en
• 关键词: Printmaking; theory; beginning; printmaking; until

The project analyzes the theory of the printed image from the beginning of this medium in the 15th century until its establishment within the academic arts in the 18th century. On the assumption that the printmaking theory was always a part of the art theory in the early modern era, that means before printmaking became an academic artistic profession, the project analyzes for the first time extensively within the early modern treatises the main statements about printmaking. With that the project assembles an anthology of the most important texts about printmaking and with this anthology the project answers to the main question: what kind of theory of printmaking was created before the 18th century and what functions did it have. The bottom line in analyzing the texts about printmaking consists in three main issues: general art concepts like invention, imitation etc., art critics and the discussion of technical problems of the printmaking. During the project it was possible to enlarge the number of texts on printmaking. Now, this texts are to be analyze extensively. The new sources demand also a deep discussion about the selection of the texts for the anthology in this project and a general discussion about the categories of texts and sources about arts. This is to be done in the prolongation phase of the project. The second part of the project deals directly with the printed images. A selection of prints is to be analyze, in order to understand better the theory of printmaking before the 18th century. The project focuses works, that figures theoretical problems. The aim is to verify and to exemplify, how the concepts of the printed image, written in the texts about printmaking, can be comprehended. The first results of the project, from the analysis of texts and the printed images, show that the technical aspects of printmaking are more influential to the printmaking theory, then it was assumed at the beginning of the project. Therefore it is necessary to analyze more deeply the significance of the printmaking techniques like engraving etc. and above all to examine, how the texts on art deal with the innovations of the printmaking. Consequently further printed images are going to be analyze in the prolongation period of the project, for instances images made by special, uncommon techniques. The results of the project verify the hypothesis, that the theory of printmaking considers the concept of the picture and the theory of arts in general. Therefore the analysis of the printmaking theory means also a revision of the history of the art theory. The project focuses the main centers of printmaking, this is: Italy, Netherlands, France and Germany.

该项目分析了印刷图像的理论，从15世纪这种媒介开始，直到18世纪在学术艺术中建立。假设版画理论在近代早期即版画成为一种学术艺术职业之前一直是艺术理论的一部分，本项目首次广泛分析了近代早期论著中关于版画的主要论述。因此，该项目汇集了一本关于版画的最重要文本选集，并通过这本选集回答了一个主要问题：在18世纪之前，什么样的版画理论被创造出来，它有什么功能。版画文本分析的底线包括三个主要问题：发明、模仿等一般艺术概念，艺术批评和版画技术问题的讨论。在这个项目中，可以扩大版画文本的数量。现在，这些文本将被广泛地分析。新的来源也需要深入讨论本项目选集的文本选择，以及关于艺术文本和来源类别的一般性讨论。这将在项目的延长阶段完成。该项目的第二部分直接处理印刷图像。为了更好地理解18世纪以前的版画理论，我们将对一些版画进行分析。该项目侧重于研究理论问题的作品。目的是验证和举例说明，如何理解印刷图像的概念，这些概念写在关于版画的文本中。项目的第一个结果，从对文本和印刷图像的分析来看，版画的技术方面对版画理论的影响比项目开始时假设的要大。因此，有必要更深入地分析版画等版画技术的意义，首先考察艺术文本如何应对版画的创新。因此，在项目的延长期间，将对进一步的印刷图像进行分析，例如由特殊，不常见的技术制作的图像。该项目的结果验证了一个假设，即版画理论考虑了图像的概念和一般的艺术理论。因此，对版画理论的分析也意味着对美术史理论的修正。该项目集中在版画制作的主要中心，这是：意大利，荷兰，法国和德国。