The independent drawing in Upper Germany, 1480 - 1530: an experiment with a new medium. Disarray on Calvary: representations of the Passion of Christ in German art around 1500. Bridges, trees and rivers: landscapes by Wolf Huber and his contemporaries.

上德国的独立绘画，1480 - 1530 年：新媒介的实验。

• 批准号: 278806454
• 负责人: Professorin Dr. Daniela Bohde
• 金额: --
• 依托单位: Institut für Kunstgeschichte
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2019-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/278806454?language=en
• 关键词: independent; drawing; Upper; Germany; 1480

A: Beyond disegno? The emerging of independent drawings in Germany and ItalyOne of the most striking and barely known differences between Italian and German art of the Renaissance is the spread and the status of independent drawings. In Germany shortly after 1500, independent or finished drawings became common practice. They were executed not only by exceptional artists such as Albrecht Altdorfer but also by rather conventional draftsmen and unknown monogramists. In Italy, however, the independent drawing remained a marginal phenomenon although drawings were highly esteemed. Cartons were publicly displayed, drawings of famous artists were collected and finally disegno became a key-term of artistic theory. These issues will be addressed at an international conference in spring 2016, organized together with Professor Alessandro Nova at the Kunsthistorisches Institut in Florence and in co-operation with the print and drawing collection of the Uffizi. The aim of the conference is to provide a better understanding of the production as well the reception of the independent drawing. The conference will inquire the criteria for the status of an independent artwork or a preparatory study. Regional differences and the relation between drawings and prints in both countries will be important topics. Special attention will be given to the role of art theory, since the independent drawing apparently flourished in a culture without any significant art theory and did not succeed in a field informed by disegno-theory. Did in this case Italian art theory rather restrain than encourage the artistic development? B: 'With false colors' - series of workshops about Upper German chiaroscuro drawings in European collections of prints and drawings In Germany around 1500, chiaroscuro drawings on a colored ground became a favorite technique besides drawing with a pen or a metalpoint on white paper. The colored ground drawing came in use in Italy around 1300 as a means to study the modelling of lights and shadows for tempera paintings. Swiss and German artists, however, employed the technique for finished drawings. It is significant that the color does not enhance the mimetic qualities of drawings as it does in watercolors or colored prints; it creates a very specific aesthetic, becoming prominent in the exuberant calligraphy of the white lines. This series of three workshops in the print and drawing collections of Berlin, Vienna and London aims to convene scholars from universities as well as curators and paper-restorers in order to discuss together the different techniques and visual strategies of the artists.C: For every serious study of drawings it is a must to work with the original drawings and to do research in the collections. I therefore apply for several shorter and longer stays at European prints and drawings collections.

答：超越了disegno？独立绘画在德国和意大利的出现文艺复兴时期意大利和德国艺术之间最显著但鲜为人知的区别之一是独立绘画的传播和地位。在1500年后不久的德国，独立的或完成的图纸成为常见的做法。它们不仅是由阿尔布雷希特·阿尔特多弗等杰出的艺术家创作的，也是由相当传统的绘图师和默默无闻的单词家创作的。然而，在意大利，独立绘画仍然是一种边缘现象，尽管绘画受到高度尊重。纸箱被公开展出，著名艺术家的素描被收集起来，最终成为艺术理论的一个关键词。这些问题将在2016年春季与亚历山德罗·诺瓦教授在佛罗伦萨昆斯托里斯学院共同组织的一次国际会议上讨论，并与乌菲齐的印刷和绘画收藏合作。这次会议的目的是为了更好地了解独立图纸的制作和接受情况。会议将探讨独立艺术品或预备性研究的地位标准。两国的地区差异以及图纸和版画之间的关系将是重要的话题。我们将特别关注艺术理论的作用，因为独立绘画显然是在一个没有任何重要艺术理论的文化中蓬勃发展的，而在一个受到不同理论影响的领域里并没有取得成功。在这种情况下，意大利的艺术理论是不是抑制而不是鼓励了艺术的发展？B：“用假颜色”--关于上德国明暗对比绘画的一系列研讨会大约在1500年左右在德国的欧洲版画和素描收藏中，除了用钢笔或金属笔在白纸上作画外，在彩色地面上的明暗对比绘画成为一种最受欢迎的技巧。这种彩色地面绘画在1300年左右开始在意大利使用，作为研究蛋彩画光影模型的一种手段。然而，瑞士和德国的艺术家使用了这种技术来完成绘画。值得注意的是，这种颜色并没有像水彩画或彩色版画那样增强绘画的模仿品质；它创造了一种非常特定的美学，在白色线条的丰富书法中变得突出。柏林、维也纳和伦敦的版画和素描收藏的三个系列研讨会旨在召集来自大学的学者以及策展人和纸张修复师，共同讨论艺术家的不同技术和视觉策略。C：对于每一次认真的素描研究，都必须处理原始素描并对收藏进行研究。因此，我申请在欧洲的版画和素描收藏中停留更短和更长的时间。