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

该项目通过探索16世纪晚期绘画和印刷媒介之间的相互作用，对威尼斯绘画的传统触感进行了彻底的重新诠释。之前关于这一时期绘画物质性变化的理论被局限于绘画媒介，而本论文则着眼于跨媒介，以扩展和修订文艺复兴时期学术界的这一基本辩论。在16世纪下半叶，威尼斯油画的“大师们”发展了一种革命性的视角，与他们的媒介有关。人们普遍认为，在这一时期，提香、维罗内塞、丁托列托和雅格布·巴萨诺引入了一些技术来炫耀他们绘画的纹理，而不再压抑每一笔。在引人注目的缩写时刻和通过超现实的创作表达的段落之间，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代理，能够通过作为构图的独立组成部分来挑战绘画图像的逻辑。有大量的文献致力于假设提香这种富有表现力的绘画的起源，在历史上被称为许多名字：pittoresco， pittura di machia，最常见的是英语中的“绘画风格”。这项研究将采用一种技术方法，为这一长期研究领域增加新的维度。通过考虑艺术品是如何制作的，本文将在更广泛的术语集内重新构建发展，通过考虑材料和技术来增加这种“风格”的历史概念。“物质性理论化”是文艺复兴时期艺术理论中物质性研究的基础。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。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，我的项目在推进物质性研究方面具有重大潜力。通过揭示印刷媒体对艺术史上“材料转向”的意义，我的研究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，被威尼斯绘画技术的现有叙述所忽视。在这一时期，印刷品已经成为许多画家的一种艺术兴趣，而廉价的印刷品已经完全渗透了威尼斯社会有助于版画的重要性的回收目前发生在艺术史学术，这篇论文将认为，威尼斯绘画的这种发展发生在一系列的艺术，文化和宗教因素，但也在响应印刷的饱和。根据我迄今为止的研究，我提出了威尼斯绘画的色彩主义内在的开放制造与印刷的单色标记制作的物质性之间的相关性。对我的论文至关重要的开创性研究是大卫·罗桑的提香和威尼斯木刻（1976），它确定了威尼斯绘画的开放标记制作与威尼斯绘画的可见笔触之间的令人注目的类比，后者“即使参与更大的虚构形式的构成，也保留了视觉独立性”。40多年后，我的论文将通过引入物质性的概念，并将印刷与绘画进行对话，使这种跨媒体视角重新焕发活力。

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.