Painting in the Age of Print: Radical Materiality in Transmission from Venice to Bologna

印刷时代的绘画：从威尼斯到博洛尼亚传播的激进物质性

• 批准号: 2292253
• 金额: --
• 依托单位: University of Manchester
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2292253
• 关键词: Painting; Age; Print; Radical; Materiality

This project presents a radical reinterpretation of traditional accounts of the tactility of Venetian painting, by exploring interactions between painting and the medium of print in the late-sixteenth century. Where previous theories about the changes in pictorial materiality during this period have been confined to the medium of paint, this thesis looks across media to expand and revise this fundamental debate in Renaissance scholarship. During the latter half of the sixteenth century, the 'masters' of Venetian oil painting developed a revolutionary perspective in relation to their medium. It is widely acknowledged that during this period, Titian, Veronese, Tintoretto and Jacopo Bassano introduced techniques to flaunt the textures of their paints, no longer suppressing every brushstroke. Between moments of arresting abbreviation, and passages expressed through extra-present facture, these Venetian artists purposefully began to exploit the fluidity of their working materials and emphasise rough, tactile surfaces. The materiality of paint gained new agency, able to defy the logic of the painted image by functioning as an independent component of the composition.There is a dense literature devoted to hypothesising the origins of this materially expressive painting in Titian, which has been referred to historiographically by many names: pittoresco, pittura di macchia and most commonly in English the 'Painterly Style.' This research will employ a technical methodology to add new dimensions to this longstanding area of research. By considering how the artworks were made, the thesis will reframe the development within a more expansive set of terminologies, augmenting historic concepts of this 'style' with considerations of materiality and technique.Theorising Materiality' has been foundational to the study of materiality in Renaissance art theory. Yet, for all its nuance, Cranston's essay reflects a wider trend to view developments in the medium of paint in isolation. My project has significant potential to advance the study of materiality, by arguing that the emergence of the Venetian painterly technique belongs to a much larger shift in the broader context of cultural production. Shedding new light on the significance of print media to the 'material turn' in art history, the implications of my research will also reach beyond the early modern period. The establishment of Venice as a European print-centre is a vital context that has been neglected by existing accounts of the Venetian painterly technique. Print had become an artistic interest for many painters during the period, whilst cheap printed ephemera had completely saturated Venetian society.2 Contributing to a reclamation of the importance of prints currently taking place within art historical scholarship, this thesis will argue that this development in Venetian painting took place in response to a range of artistic, cultural and religious factors, but also in response to the saturation of print. Based upon my research thus far, I propose a correlation between the open facture intrinsic to the colourism of Venetian painting and the materiality of print's monochromatic mark-making. A pioneering study of critical importance to my thesis is David Rosand's Titian and the Venetian Woodcut (1976), which identified compelling analogies between the open mark-making of Venetian drawing and the visible brushwork of Venetian painting, which 'retains visual independence even as it participates in the constitution of larger fictive forms.'3 More than four decades later, my thesis will revitalise this trans-media perspective by introducing notions of materiality and bringing print into dialogue with painting.

这个项目提出了一个激进的重新解释的威尼斯绘画的纯洁性的传统帐户，通过探索绘画和印刷媒介之间的相互作用在十六世纪后期。在这一时期，以前关于绘画物质性变化的理论一直局限于绘画媒介，本文着眼于跨媒体，以扩大和修改文艺复兴时期学术界的这一基本辩论。在十六世纪后半叶，威尼斯油画的"大师"们发展了一种革命性的观点，与他们的媒介有关。人们普遍认为，在这一时期，提香，韦罗内塞，丁托列托和雅格布巴萨诺介绍了技术，以炫耀他们的绘画纹理，不再抑制每一笔。在引人注目的缩写时刻和通过超现实的制作表达的段落之间，这些威尼斯艺术家有目的地开始利用他们的工作材料的流动性，并强调粗糙的触觉表面。颜料的物质性获得了新的动力，能够通过作为构图的独立组成部分来对抗所绘图像的逻辑。有大量文献致力于假设提香这种物质表现性绘画的起源，它在历史上被称为许多名字：pittoresco，pittura di macchia，最常见的是英语中的“画家风格”。“这项研究将采用一种技术方法，为这一长期研究领域增添新的维度。通过考虑艺术品是如何制作的，本文将在一个更广泛的术语集内重新构建发展，通过对物质性和技术的考虑来增加这种“风格”的历史概念。然而，尽管有细微差别，克兰斯顿的文章反映了一种更广泛的趋势，即孤立地看待绘画媒介的发展。我的项目具有推进物质性研究的巨大潜力，通过论证威尼斯绘画技术的出现属于更广泛的文化生产背景下的更大转变。在印刷媒介对艺术史“材料转向”的意义上，我的研究的意义也将超越早期现代时期。威尼斯作为欧洲印刷中心的建立是一个重要的背景，这一背景被威尼斯绘画技术的现有记录所忽视。印刷已成为一个艺术兴趣的许多画家在此期间，而廉价的印刷蜉蝣已完全饱和威尼斯society.2有助于回收的重要性，目前正在发生的版画艺术史奖学金，本文将认为，这种发展在威尼斯绘画发生在响应一系列的艺术，文化和宗教因素，而且还响应于印刷的饱和度。基于我迄今为止的研究，我提出了威尼斯绘画的色彩主义内在的开放性与印刷品的单色标记制作的物质性之间的相关性。大卫·罗桑（David Rosand）的《提香与威尼斯木刻》（Titian and the Venetian Woodcut，1976）是对我的论文至关重要的一项开创性研究，它指出了威尼斯绘画中开放的标记制作与威尼斯绘画中可见的笔触之间令人信服的相似之处，后者"在参与更大的虚构形式的构成时仍保持视觉独立性。40多年后，我的论文将通过引入物质性的概念并将印刷与绘画对话来重振这种跨媒体视角。