Genre Concept in Early Modern Italian Art Theory with reference to Domenichino

在这项研究中，我们研究了Bellori的描述两幅画的Domenichino，一个历史画，“最后圣餐的圣杰罗姆”（1614年）和一个诗意的画，“狩猎的戴安娜”（1617年），以澄清之间的关系描述和流派的绘画。贝罗里在他的绘画描写中强调创造性和性格的重要性，但在历史画的描写中，他以创造性为主，而在诗画的描写中，他则赞美画家性格的丰富。我们在16世纪意大利的艺术文献中追溯了这种态度差异的根源，并指出，在威尼斯，从世纪初开始，（特别是画家）认识到两种绘画流派，即“历史”和“历史“，在后一种艺术中，画家的想象力有了更大的自由。我们在有关艺术的论文中看到了这种态度的传播在这个世纪，并指出，论文宗教，“对话nel quale si ragiona degli errori e degli abusi de' pittori circa 1' istorie”的乔瓦尼安德烈吉利奥（1564），发挥了重要作用的过程中。通常很少有人注意到这本小册子，因为它被认为是一个神职人员写的一个范围，告诫画家不要滥用他们的想象力，当他们画历史题材，特别是宗教历史保守的论文。但在序言中，吉利奥将绘画分为两种流派。“历史”和“诗歌”，并要求画家表达准确，只有什么是需要在前者，而他允许许可证他们的想象力在后者。吉利奥的小册子在反宗教改革时期的艺术理论家中很受欢迎，并产生了相当大的影响。到了世纪之交，两种流派的区分已经确立。

In this research we examined Bellori's descriptions of two paintings by Domenichino, a historical painting, "Last Communion of St. Jerome" (1614) and a poetical painting, "Hunting of Diana" (1617), to clarify the relation between description and the genre of a painting. In his descriptions, Bellori stresses the importance of invention and disposition, but he gives priority to the former in the description of history painting, while he praises the copiousness of disposition of painter in the description of poetic painting. We traced the origin of this difference in attitude in the artistic literature of Sixteenth century Italy and pointed out that, in Venice, from the early 16th century, they (esp. painters) recognized two genres of painting, that, "storia (history)" and "poesia ", and they allowed much greater liberty to the imagination of painter in the latter.We followed the diffusion of this attitude in treatises on art written in this century and pointed out that a treatise on religious, "Dialogo nel quale si ragiona degli errori e degli abusi de' pittori circa 1' istorie" of Giovanni Andrea Gilio (1564), played an important role in the process. Usually little attention is paid to this pamphlet because it is considered as a conservative treatise by a cleric written with a scope to admonish painters not to abuse their imagination when they paint historic subjects, especially religious histories. But in the preface Gilio divides painting into two genres,. "history" and "poetry", and asks painters to express exactly and only what is required in the former while he permits license of their imagination in the latter. Gilio's pamphlet was very popular among art theorists in the Counter-Reformation period and exercised considerable influence. By the turn of the century, the distinction of two genres has been established.