Discrepant Traditions, ‚Old‘-‚New‘-Hybrids and Genre Mixtures in Venetian Painting and Art Theory of the Seicento

威尼斯绘画与 Seicento 艺术理论中的差异传统、“旧”与“新”混合体和流派混合

• 批准号: 289580077
• 负责人: Professorin Dr. Valeska von Rosen
• 金额: --
• 依托单位: Institut für Kunstgeschichte
• 依托单位国家: 德国
• 项目类别: Research Units
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2022-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/289580077?language=en
• 关键词: Discrepant; Traditions; Old; New; Hybrids

Under a modified title, the subproject seeks to investigate how traditions are constructed and how the recourse to these traditions is staged in the 17th-century Venetian discourse on art. This discourse becomes tangible both in actual artistic practice and in the form of theoretical and historiographical texts. Both types of media – image and text – thus constitute the objective of the repositioned subproject, whose emphasis is now twofold: on the one hand, it concentrates on the pictorial practice of Pietro della Vecchia, Francesco Maffei and Giovanni Battista Langetti, painters who mainly worked in Venice, but who travelled widely in Italy and were well connected at a supra-regional level; on the other hand, it examines the theory and historiography of art with a focus on the most important text of the Venetian Seicento, namely Marco Boschini’s monumental didactic poem, the Carta del navegar pitoresco (1660). Written in rhyming verse in the Venetian dialect, the poem operates on the boundary between poetic and technical discourse. While the project’s initial concern with theoretical treatises is to be continued, taking account of pictorial media will open up new perspectives in line with the research group’s general awareness of the need to integrate a comparative vantage point on various types of media. It thus falls to the realigned subproject to focus on the issue of how the negotiation of traditions and the staging of innovation/novelty in visual media become manifest in the first place, how the recourse to various inventories of tradition and the emphasis on ‘newness’ can be communicated in visual form, and in what shape a specifically image-based discursivity can be encountered in this context.The link between the project’s two main lines of inquiry results from Boschini’s focus not only on the golden age of Venetian painting, the 16th century, but also on the works of his contemporaries – the ,new‘ or ,modern‘ style, as he calls it. What Boschini is interested in is the question of how the artists of his generation engage with the various strands of tradition in Venetian painting that he reflects in great detail; how they update traditions, or how they try to break away from them in order to demonstrate ,newness‘ or ,modernity‘; and how, in so doing, they position themselves in relation to the style of the naturalisti that was so successful all over Italy and in several other European countries. The painters most comprehensively discussed by Boschini include Pietro della Vecchia, Francesco Maffei and Giovanni Battista Langetti. Consequently, their works take centre stage in the project’s investigation of the specific ways in which the recourse to heterogenous traditions is realised. These processes are dependent on generic conventions, but they also involve a continuous emphasis on innovation/novelty. In order to engage with this phenomenon, there will be a close link between theory and practice in the repositioned subproject.

在一个修改后的标题下，该子项目旨在研究传统是如何构建的，以及如何在17世纪的威尼斯艺术话语中诉诸这些传统。这种话语在实际的艺术实践中以及理论和史学文本中变得有形。因此，这两种媒介-图像和文字-构成了重新定位的分项目的目标，其重点现在是双重的：一方面，它集中于Pietro della Vecchia、Francesco Maffei和Giovanni Battista Langetti的绘画实践，这些画家主要在威尼斯工作，但他们在意大利广泛旅行，在超区域一级有很好的联系;另一方面，它探讨了艺术的理论和史学，重点是威尼斯Seicento的最重要的文本，即马可Boschini的不朽的说教诗，Carta del navegar pittalco（1660）。这首诗用威尼斯方言写成押韵的诗句，在诗歌和技术话语之间的边界上运作。虽然该项目最初对理论论文的关注将继续下去，但考虑到图像媒体将开辟新的视角，这符合研究小组对需要综合各种媒体的比较Vantage的普遍认识。因此，重新调整后的子项目福尔斯将重点放在如何在视觉媒体中首先体现传统的谈判和创新/新奇性的阶段，如何在视觉形式中传达对传统的各种库存的求助和对“新颖性”的强调，以及一个特定图像的形状-在这种情况下，可以遇到基于话语性的问题。项目的两条主要调查路线之间的联系不仅来自Boschini的关注，他不仅关注世纪威尼斯绘画的黄金时代，也关注他同时代的作品--他称之为“新”或“现代”风格。博斯奇尼感兴趣的是他那一代的艺术家如何与威尼斯绘画中的各种传统联系在一起的问题，他非常详细地反映了这些传统;他们如何更新传统，或者他们如何试图摆脱传统，以展示，新的“或，现代性”;以及，在这样做的过程中，他们如何将自己与在意大利和其他几个欧洲国家如此成功的自然主义风格联系起来。Boschini最全面讨论的画家包括Pietro della Vecchia，Francesco Maffei和Giovanni Battista Langetti。因此，他们的作品在该项目对实现对异质传统的求助的具体方式的调查中占据了中心地位。这些过程依赖于通用惯例，但也涉及不断强调创新/新奇性。为了处理这一现象，在重新定位的分项目中，理论和实践将紧密联系在一起。