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.

A：超越诊断？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引人注目和鲜为人知的差异之一是独立绘画的传播和地位。1500年后不久，在德国，独立或成品图纸成为普遍做法。它们不仅是由像Albrecht Altdorfer这样杰出的艺术家完成的，而且是由相当传统的绘图员和不知名的字母编写者完成的。然而，在意大利，尽管绘画受到高度尊重，但独立绘画仍然是一种边缘现象。纸箱被公开展示，著名艺术家的画作被收集，最后disegno成为艺术理论的一个关键术语。这些问题将在2016年春季与佛罗伦萨艺术史研究所的Alessandro Nova教授一起组织的国际会议上讨论，并与乌菲齐美术馆的版画和绘画收藏合作。会议的目的是提供一个更好的理解生产以及独立图纸的接收。会议将询问独立艺术作品或预备研究的地位标准。两国的地区差异以及绘画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，并且在一个由疾病理论指导的领域中没有取得成功。在这种情况下，意大利的艺术理论是限制而不是鼓励艺术发展吗？B：“假色”——欧洲版画和图纸收藏中的上德国明暗对照绘画系列讲习班。在1500年左右的德国，除了用笔或金属笔在白纸上作画外，在彩色地面上进行明暗对照绘画成为一种最受欢迎的技术。1300年左右，彩色地面绘画开始在意大利使用，作为研究蛋彩画光影造型的一种手段。然而，瑞士和德国的艺术家在完成的绘画中使用了这种技术。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殊的审美，在白线的旺盛书法中变得突出。在柏林、维也纳和伦敦的版画和绘画收藏中，这一系列的三个研讨会旨在召集来自大学的学者、策展人和纸张修复者，共同讨论艺术家的不同技术和视觉策略。c：对于每一个严肃的绘画研究，都必须与原始图纸一起工作，并在收藏中进行研究。因此，我申请了几个短期和长期停留在欧洲版画和绘画收藏。