Architecture in Italian Renaissance Painting

意大利文艺复兴绘画中的建筑

• 批准号: AH/K002856/1
• 负责人: Amanda Lillie
• 金额: $ 17.38万
• 依托单位: University of York
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2013
• 资助国家: 英国
• 起止时间: 2013 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FK002856%2F1
• 关键词: Architecture; Italian; Renaissance; Painting

This project uses an exhibition at the National Gallery in London to explore the fictive architecture which became a strategic and conspicuous feature of Italian Renaissance painting. Most historians of this period of Italian art have focused on the figure, and those who have studied pictorial space have tended to concentrate on mathematical perspective. A new study of the buildings and architectural frameworks created within images entirely changes the way we perceive these paintings. The exhibition and research project 'Architecture in Italian Renaissance Painting' addresses a fundamental question: what does architecture do for painting? It investigates how and why fourteenth, fifteenth and sixteenth-century Italian artists not only incorporated buildings in their work, but often took an architectural approach to painting. The exhibition is designed around 5 themes: 1) 'Building the picture' investigates the ways in which architecture underpins painting. Rather than being something added on or subordinate to the rest of the image, an architectonic approach often structures the whole painting at the initial planning stage. In setting out the composition, painters designed the architectural framework first, constructing a space and placing figures within it, as the technical evidence of underdrawing, incised or ruled lines and pin-holes often demonstrates. 2) 'Inhabiting the picture' explores the ways in which inner frameworks create the illusion of pictorial space.The way in which we visually enter and inhabit the picture greatly depends on architectural devices: frames and portals that invite the spectator into pictorial space, streets and piazzas through which we imagine strolling, or deep perspectival passages and barrel vaults that direct us inexorably to a vanishing destination. Certain architectural frameworks were favoured to make virtual buildings accessible to viewers: façades were opened up to create cut-away views, and the advantages of the loggia or portico were explored. It is painted architecture that creates an entry to the image which is virtually built by the painter.3) 'Place making' is an essential part of painting as the subject and the story need a location for the action or event. Architecture very often creates the place, whether it be real or imaginary, foreign or local, a city square or street, a church, monastery, stable or palace, an exterior or interior.The subtle characterisation of place plays a key role in visual story telling and is often achieved by architectural means. 4) 'Architectural time' investigates how painters imagined and constructed a time for the visual narrative. Although we might expect a straightforward rendering of, say, ancient buildings in a mythological subject, notions of history are often confused or complicated by hybrid architectural inventions, so that architecture in painting might seem at first to establish a time, but on looking more closely, a clear sense of period often collapses or is destroyed.5) 'Fantasy architecture' explores what painters can do that architects cannot, displaying the power of the painter to create what could never be built. Extravagant buildings held a special appeal for artists, patrons and architects themselves, as the aesthetic principle is allowed to rule over the practical in a way that would never be possible in real structures. This section is about architectural desire: exhibiting unachievably complex or structurally impossible designs, dream-like colours and materials including bronze capitals or priceless coloured marbles, and surprising or grotesque decoration.The project will also generate a program of scholarly and curatorial events and publications, including a website with an online catalogue, pod casts, and inventive digital reconstructions; a pre-exhibition conference session to explore the field; and an international symposium and student workshop during the exhibition period.

该项目在伦敦国家美术馆使用展览来探索虚构的建筑，这成为意大利文艺复兴时期绘画的战略性和引人注目的特征。这段意大利艺术时期的大多数历史学家都集中在这个人物上，那些研究绘画空间的人倾向于专注于数学观点。对图像中创建的建筑物和建筑框架的一项新研究完全改变了我们对这些画作的看法。展览和研究项目“意大利文艺复兴时期的绘画中的建筑”解决了一个基本问题：建筑对绘画有什么作用？它调查了14，15世纪和16世纪的意大利艺术家的方式以及为什么不仅在其作品中融入了建筑物，而且经常采取建筑方法的绘画方法。该展览的设计围绕5个主题：1）“构建图片”调查了建筑绘画基础的方式。建筑方法并没有在最初的计划阶段构造整个绘画，而不是添加或从属图像的其余部分。在设置构图时，画家首先设计了建筑框架，并在其中构建了一个空间并将数字放置在其中，因为缺乏绘制，切割或统治线和孔洞的技术证据经常证明。 2) 'Inhabiting the picture' explores the ways in which inner frameworks Create the illusion of pictorial space.The way in which we visually enter and influence the picture greatly depends on architectural devices: frames and portals that invite the spectator into pictorial space, streets and piazzas through which we imagine strolling, or deep perspective passages and barrel vaults that direct us inexorably to a vanishing destination.某些建筑框架很喜欢使观众可以访问虚拟建筑物：立面开放以创建剪裁视图，并探索了Loggia或Portico的优势。它是绘制的架构，创建了图像的条目，该图像实际上是由画家建造的。3）“地点制造”是绘画的必不可少的部分，因为该主题需要一个动作或事件的位置。建筑经常会创造这个地方，无论是真实的还是想象中的，外国或当地的，城市广场或街道，教堂，修道院，稳定或宫殿，外部或内部。 4）“建筑时间”调查了画家如何想象并构建了视觉叙事的时间。尽管我们可能会期望在神话主题中直接渲染古老的建筑，但历史记录通常会被混合建筑事件感到困惑或复杂，因此绘画中的建筑似乎最初似乎是为了建立一个时间，但是在寻找更紧密的时期意识上，清晰的时期意识经常崩溃或破坏或被摧毁。5）'5）'幻想的建筑都无法启动绘制绘制的绘画，可以启动绘画，从而可以启动启动。奢侈的建筑物为艺术家，顾客和建筑师本身具有特殊的外观，因为允许审美原则以在真实结构中永远无法实现的方式统治实践。本节涉及建筑欲望：展示不可思议的复杂或结构上不可能的设计，类似梦想的颜色和材料，包括青铜之首或无价的颜色大理石，以及惊喜或grateque的装饰。该项目还将生成一个科学和策展活动的计划，包括带有网站的网站，具有在线目录，POD CASTAL，POD CASTS，以及创新的数字数字化；探索该领域的规定会议；以及在展览期间举行的国际研讨会和学生研讨会。

项目成果

'Building the Picture' on line catalogue

“构建图片”在线目录

• 发表时间: 2014
• 作者: Lillie A

The Medici: Citizens and Masters

美第奇家族：公民与大师

• 发表时间: 2015
• 作者: Lillie A