Canon Formation and the Reappraisal of Ugolino di Nerio and Giotto di Bondone in Nineteenth-century Britain

本研究的目的是进一步了解经典形成的过程，通过询问如何显示归因于两个十四世纪画家的作品有助于重新评估艺术史经典在十九世纪。正如艺术史学家休伯特·洛彻（Hubert Locher）（2012）所指出的那样，正典仍然是当今艺术史的一个关键问题，其过程仍然需要理解。为了证明的过程，巩固了形成的正典在十九世纪本研究将分析的流通，接收和显示在英国的作品归因于两个十四世纪意大利画家，佛罗伦萨乔托迪Bondone和锡耶纳Ugolino迪Nerio。最初，这些画家的作品在物理上非常接近，并享有平等的地位。在佛罗伦萨，乌戈利诺的多联画被放置在圣十字教堂的高祭坛上，靠近乔托的壁画，后者装饰了附近的一个小教堂，而在圣玛利亚诺维拉，乔托的十字架悬挂在乌戈利诺制作的另一个多联画上方。然而，当16世纪的传记作家和艺术家乔治·瓦萨里在1568年出版这些画家的生活时，他没有承认他们的作品曾经享有的平等地位。他的目的是建立乔托的佛罗伦萨工作的进步性质，但在这样做时，他驳回了乌戈利诺的锡耶纳工作向后看。瓦萨里的观点盛行了200多年。

The aim of this study is to further understanding of the processes underlying canon formation by asking how the display of works attributed to two fourteenth century painters contributed to the reappraisal of the art historical canon in the nineteenth century. As art historian Hubert Locher (2012) argues, the canon remains a key issue in art history today and its processes still need to be understood. In order to demonstrate the processes that underpinned the formation of the canon in the nineteenth century this study will analyse the circulation, reception and display in Britain of works attributed to two fourteenth-century Italian painters, the Florentine Giotto di Bondone and the Sienese Ugolino di Nerio. Originally the works of these painters existed in close physical proximity and shared equal status. In Florence, Ugolino's Polyptych was positioned on the high altar at Santa Croce, near to Giotto's frescos that decorated an adjacent chapel while, at Santa Maria Novella, Giotto's Crucifix hung above another polyptych made by Ugolino. However, when the sixteenth-century biographer and artist Giorgio Vasari published accounts of these painters' lives in 1568 he failed to acknowledge the equal status their works had once enjoyed. His purpose was to establish the progressive nature of Giotto's Florentine work, but in doing so, he dismissed Ugolino's Sienese work as backward looking. Vasari's view prevailed for over two hundred years.