权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

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

参考多梅尼基诺的早期现代意大利艺术理论中的流派概念

基本信息

批准号：
14510085
负责人：
URAKAMI Masashi
金额：
$ 1.66万
依托单位：
Fukuoka University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2002
资助国家：
日本
起止时间：
2002 至 2003
项目状态：
已结题

项目摘要

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.

在这项研究中，我们考察了贝洛里对多梅尼奇诺的两幅画的描述，一幅是历史绘画《圣杰罗姆的最后一次共融》(1614年)，另一幅是诗意绘画《猎杀戴安娜》(1617年)，以澄清描述和绘画流派之间的关系。贝洛里在描写中强调创造和性情的重要性，但在描写历史绘画时，他把前者放在首位，而在诗意绘画的描写中，他赞扬了画家性格的丰富性。我们追溯了16世纪意大利艺术文学中这种态度差异的根源，并指出，在威尼斯，从16世纪初开始，他们(特别是。画家)承认了两种绘画流派，即“故事(历史)”和“诗意”，他们允许画家的想象力在后来更大的自由。我们跟踪这一态度在本世纪撰写的艺术论文中的传播，并指出一篇关于宗教的论文，Giovanni Andrea Gilio(1564年)的《Dialogo Nel Quale si ragiona deragiona degli e degli e degli de‘Pittori de’Pittori are 1‘istorie“，在这一过程中发挥了重要作用。这本小册子通常很少受到关注，因为它被认为是一位神职人员写的一本保守的论文，目的是告诫画家在绘制历史题材，特别是宗教历史时不要滥用他们的想象力。但在序言中，吉利奥将绘画分为两种流派。“历史”和“诗歌”，他要求画家准确地、只表达前者所要求的东西，而他允许他们在后者中自由想象。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。到世纪之交，两种流派的区别已经确立。