Sebastiano Resta's drawing albums: A case study in the materiality in knowledge systems and the epistemology of drawings

这个项目的重点是由鉴赏家和收藏家Sebastiano Resta（1635-1715）组装的绘画专辑。这些画册按照艺术流派和地理区域组织，呈现了一种视觉化的艺术史，其中艺术史叙事直接基于艺术作品，而不是艺术家的生活。雷斯塔的专辑在这方面展现了通过文本和图像网络建立的复杂推理线。雷斯塔的专辑是最早的视觉艺术史之一，这是一种艺术历史叙事的创新模式，迄今为止，它的基础被归功于克里斯蒂安·梅赫伦（Christian Mecheln）后来对维也纳观景宫（Belvedere）收藏的重大重组（1778-81）。该项目的主要目标之一是重建Resta专辑的认识论和史学前提。另一个目标是更好地定义绘画的本质，作为早期现代艺术历史知识和史学的基石。雷斯塔的专辑通过强调其隐含的历史和方法条件来展示这种艺术史写作。他们将与特定的艺术史文本传统进行研究，也将与大约1700年的自然历史分类学或笔迹学方法进行比较。因此，该项目建议重新发现鉴赏的科学根源和某些艺术历史组织系统（如艺术学校和时期），以及这种主要基于绘画对象的知识系统的物质性的理论含义。

This project focuses on the albums of drawings assembled by the connoisseur and collector Sebastiano Resta (1635-1715). These albums, organized according to artistic schools and geographical regions represent a visual history of art, in which art historical narrative is based directly on works of art rather than artists' lives. This aspect of Resta's albums brings to evidence complex lines of reasoning established through a network of text and images. Resta's albums are among the first visual art historiography, an innovative mode of art historical narrative whose foundation has so far been attributed to Christian Mecheln's significantly later rearrangement of the collection of the Belvedere in Vienna (1778-81). One of this project's main goals is to reconstruct the epistemic and historiographical preconditions for Resta's albums. Another goal is to better define the nature of drawings as cornerstones of this early modern art historical knowledge and historiography. Resta's albums showcase such art historical writing by highlighting its implicit historical and methodological conditions. They will be studied in relation to specific art historical textual traditions, but also in comparison to natural historical taxonomy or graphological approaches from circa 1700. The project therefore proposes to rediscover the scientific roots of connoisseurship and that of certain art historical organisational systems (such as artistic schools and periods) as well as the theoretical implications of the materiality of such a knowledge system that was predominantly based on the object of drawings.